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Revision as of 16:45, 3 December 2024
Radio recording
Concept
This radio show was inspired by the Aporee exploration day we had together. We collected all the sounds, memories and songs to make a soundboard on Ableton Live. Fred built the soundboard and we used it to mix. We listened to all the content and made notes about them.
Roles
- Fred (Producer) / Kim (Interface)
- Sevgi (host)
- Martina (host)
- Kiara (host)
Other
Pre-Production
collected radio aporee field recording pages: Category: Field Recordings 2024
Took notes on the sounds and songs:
Notes on sounds:
- sevgi'map - Antalya, Turkey / bird sounds, nature, morning, dreamy memory - Heaven song - Fanny Dog - a lil funky, about Fanny the dog, 'knows what her name is'
- alexandriamap - IJmuiden, Netherlands / industrial, road, car, exhaust, smoke memory - Warhammer, google maps, bike ride, bike partner, games, gamecube, kanker, cancer, song - Uskallan · Paavoharju - folk, Turku, yoresel, local, lo-fi, - pop-rock
- 'fredmap - Glasgow, Scotland - station , pre-recorded message, ACCENT, next train memory - high pitch, Brexit, automated passport scanners, nationalism, pride of [...], home, na/belonging song - Rich (Homeless), Thanksgiving - dreamy, lo-fi, humming, tiny little mouse, cute
- elenimap - Athens, Greece - station, metro, inside the cart, memory - native language (greek) song - Sweet Life - Frank Ocean, rnb
- felinemap - Kiel, Germany - seagulls, harbor, seaside, conversation, shore, watermemory - x song - Otis Redding - Sitting on the dock of the bay
- chrissymap - Kassel, Germany - drum circle? dreamy, laundry, drops, water, toilet, plumbing, memory - native language (German), Corona, summer, auepark, paths, mapping song - Smokies · Barefoot Jerry - 60s, happy, beatles In The Summertime · Mungo Jerry - hit, 60s, happy, easy
- charlie
- map - Luxembourg / church bells, square, town memory - echo, nostalgic, church bells, traffic, noise, comforting, home, ding dong song - x
- kimmap - Brandenburg, Germany - night, bugs, nature, fresh air, songs in the distance, comforting (to me), sleepy memory - childhood, home, summer, roadtrip, smell, forest, water, family song - brandenburg rainald Grebe, Live, piano, 2000s, gag
- kiaramap - Toulouse, France - traffic, birds, wind, metro station memory - native language(French), childhood song Le Premier jour du reste de ta vie- 90s dreamy, keyboard, nostalgic French, I hate this one, glimmer bytes
- zuhuimap - Seoul, South Korea - bells, temple, crackle, talking, memory - childhood, birthday, spring song - Ganadaramabasa 70s, spring, guitar, dreamy, kinda amazing, 10/10 Clap! Clap! - "Kuj Yato - bells, ding dong, police siren, 10/10, absolutely slaps, so good, folk, yoresel,
- Joe Hisaishi - Summer, summer, spring, happy, instrumental, piano,
- melisamap - Damascus, Syria - road, cars, traffic, busy, phone ring, horns horns horns, war zone memory - No permish song - Saalouny El Nas - kivir salla habibi, 10/10 love this one
- claudiomap - Castellanza, Italy - static, water, shore, subtle, beautiful?
- memory - native language (Italian) song Permanent Vacation - Hendiadyoin - ambient, cool, piano, ok
- Tessamap - Lausanne, Switzerland - bells, square, talking, ambulance, lullaby, children, puppet show, weronik memory - native language (french) song - Jesper Munk – Shakespeare & Heartbreak - 2012
- imremap - Istanbul, Turkey - istiklal, street, talking, saz, street musician, memory song Üsküdar'a gider iken
- martinamap - Had Dingli, Malta - beat, street, quarry, digging, machinery, automation, memory - native language (maltese) song dreams Kelsey lu - violin, intro almost bell like, high pitch, instrumental, eerie, echo,
- wynmap - Hongkong, China - beeping, beat, traffic, metro?, station, memory - native language(Chinese) song - made with the beeping from the station <3, beat, echo, 43 mins
- iminamap - Las Vegas Strip, NV, USA - casino, britney, cash machine, memory money, family,
- memory 2- radio? song beautiful dirty, rich - lady gaga/ iconic
Post-Production
Some interpretations of the Field Recording World Map:
inverted scan of the field recording map
traces of field recordings on a world map
Radio 1 Post-its
Radio recording
Concept
The second radio show continued the idea of the field recording. This time we wanted to investigate our close physical environments, the city Rotterdam: Many of us just moved here, some lived have lived in the city longer. How do we relate to the city? And how do we relate to it through sound? We also asked fellow students and strangers for their personal experiences, collaging ambient environment sounds with spoken words.
Roles
- Kim (producer) /Chrissy (interface)
- Melisa (host)
- Eleni (host)
- Imina (host)
Prompts
Hi all,
Here’s your #2nd radio group of next Monday coming in. We have two requests, one already shared by Kim in Joseph’s class:
Could you all record and upload a sound clip of 10 seconds or more preferred of your new music instrument? We woud like to use these in one way or the other in the radio show next week. Please let us know if you would prefer us not to use it.
Could you all also write and upload 1-2 sentences on your experience in Rotterdam? This can be anything - from bad weather-talk to great (or not so great) housing. We would like to use these in one way or the other in the radio show next week. Please let us know if you would prefer us not to.
The deadline for this would preferably be Friday end of day so we have some time to prepare everything. The sooner the better though.
Uploading can be done on your own Wiki-page. Both sound clip and sentence(s) can be uploaded on the same page in your Wiki. Please make sure to call it “Radio Delivery [and your name here”], or something along these lines :)
Any questions, please let us know!
Cheers x
Other
Prototyping 24th September 2024
Jam 1
Jam 2 (chaos)
Jam 3 (quiet)
Pre-production
Eleni made a soundboard for an intro:
Protocols for collective performance
Chat archive:
chat1
chat2
chat3
chat4
chat5
chat6
chat7
chat8
Post-Production
Broadcast on Mixcloud
Radio recording
Concept
We depicted our radio show as an exploration underwater. This journey had three phases, each one introduced by a fictional narrator, in order: getting towards the water, swimming and diving. We collected audio material from archive.org, Aporee and Youtube videos, and we mixed everything in real-time to form an ambient soundscape. The memes, songs, texts, audios, and music were like bubbles emerging from our minds.
Roles
- Chrissy(producer) /Wyn(interface)
- Imre(host)
- Claudio(host)
- Martina(host)
Prompts
Hello everyone, The 3rd radio group is preparing for next Monday's show (October 7th), and we need your help. We have two questions we'd like everyone to answer:
1.What is experimental? 2.What is a protocol?
Please post your responses on your personal wiki page. You're free to answer in any form or format you prefer (meme, a video, words, a song,etc), but it would be better if they were audio clips, or memes/images with accompanying text descriptions.
Your answers will be featured during our radio show, so please submit them before Friday evening. (We have 2 Oct. birthday club members, HBD to @Martina and @chrissy ˑ𓂃⊹˚° - and hope they enjoy a good weekend without work!) If you post your answer on your page, please react :checkbox:️ to this message :) Thank you for your participation!
Setup
At Radio WORM we used two computers both connected to a mixer as input audio source. We used a small program mad in Touchdesigner that allows track selection, playback, and some basic manipulation (ex. speed, panning, trimming). We took turns to operate from the two laptops.
Structure
Intro
Part 1: water ambient noises
Part 2: Text to speech playback of the answers to the questions "what is a protocol?" and 'what is experimental?" we received, mixed together with the water soundscape.
Part 3: Songs/texts/memes that relate to water.
Outro
Audio material
Radio Narrator
complete intro (protocals + introduction)
radio transition
radio outro
Samples
Be water my friend
Noorderhoofd, Hoek van Holland, The Netherlands - Sem Zeeman - Noorderhoofd [51.98021° N, 4.11153° O] through the ears of its aquatic- and surrounded wildlife, adapted to the petrochemical industries and cargo shipping
- Hermeto Pascoal - Música da Lagoa (Sinfonia do Alto Ribeira, 1985)
Snippet of the 1985 movie "Sinfonia do Alto Ribeira", by Ricardo Lua a documentary made to draw attention to the plight of Parque Estadual do Alto da Ribeira (High Creek State Park), a park near the southern border of São Paulo state. The park represented some of the last wild remnants of the Atlantic rain forest in the south. As with the Amazon forest in northern Brazil, the park’s boundaries were under constant pressure from the steady encroachment of civilization. Hermeto loved the idea and, in his usual manner, decided to compose and perform all the music within the park itself.
- Some song snipppets about water/rivers/sea & such
- Cold Water - Damien Rice
- 水底乐园（wonderland of underwater）
Conceptual Framework
How can we feel water through audio? Which sounds can be performed? How do we structure the underwater scene? Our design explored several questions. It reminds me of Bruce Lee's famous speech, the ideology of water must be formless. Water's ability to transform into ice, steam, river, and various forms reflects our experimental methodology. We incorporated sounds of human-water interactions (swimming, breathing, showering). From Bruce Lee's speech to the solid material - river flowing, ice cracking, going through the specific word 'water' to the life cycle of water - evoking the feeling of experimentation from abstract to concrete. We collected different answers about two question that what's the protocal and experimental, their answers would be our material as well.
Questions
1. What is experimental?
- Anything that I am still testing/ never tested before-if related to artwork.
- Outside the box
- Conducting various steps (protocols) to test a hypothesis.
- Something relatively innovative compared to other bodies of work.
- First thing that comes to mind is music. Otherwise Art, innovation, science. Trying out something that you have never tried before.
- Anything that doesn’t fit a conventional pattern or tradition
- Anything testing a theory
- If something is experimental, it means that it was never done before and the output is unknown
- It is said of something that aims to prove useful once it's been used and refined enough. When something enters its experimental phase it will often enter it with a certain goal in mind, so the utility of something that is said to be in an "experimental phase" will vary. Those results, no matter if they are deemed to be positive or negative, will be the result of experimentation, and will inevitably branch out to new discoveries and to the gathering of new experiences related to the experimented subject. It can be argued that acquiring the most "usefulness" of the experimented item will not always be the final goal of the already mentioned process. Flaws may become features instead of hindrances and the goal could even become an ever shifting finish line that will never be reached.
- It is a set of requirements to be strictly followed in order to create a new procedure or system.
- Experimental is the wild side of the brain and protocol ist the sorting out
- To test something with trials and experiments
- I think practically anything new and iteractive can be considered experimental.
- Experimental means that something that is not proven as a fact but trying to be proven as fact which makes is experimental or it is something that is against the social norms or rules that are broken but trying to get a reaction doing an a abnormal act
- what pushes boundaries, against standard practices
- feelin shit out
- In a new way, without adhering to established conventions
- Alexandria's definition:
- Kiara's definition: Never quite finished (until you decide it is or get tired of working on it), can not quite be related to a specific field \is it art or design or performance or. That's Experimental
- Kim's def:
experiment (noun): an observation, test, or trial, piece of evidence or empirical proof; feat of magic or sorcery
from Old French esperment "practical knowledge, cunning; enchantment, magic spell; trial, proof, example; lesson, sign, indication
from Latin: ex "out of" + peritus "experienced, tested," from PIE *per-yo-, suffixed form of root per- "to try, risk."
experimental (adjective): "having experience", "for the sake of experiment"
- Zuhui's def:
attempts at trying out new systems of thought, government, or social organization. These might be attempts to explore alternative ways of living or interacting as a society to see what works and what doesn't.
- experimental is working within your own rules with no known outcome
- Something novel and unique, such as the combination of two things that would not “go together” in “normal” circumstances
- something unconventional
- Melisa's def:
A (extraordinary/niche) new approach to... Thinking beyond the binary... Twisting traditional ways/methods of doing something into something more free...
2. What is a protocol?
- Arbitrary set of rules widely accepted to be adhered to in a given setting.
- Inside the box.
- Rules, also regulations and standards, a set of steps that must be complied with
- Set of rules, created to “copy” a procedure, or keep safe.
- A protocol can be considered as a series of different rules to follow, in order to fulfil a certain task or goal.
- A protocol is a set of rules commonly agreed upon by any number of active members that ensures a certain functionality. It is a go-to method that aims to narrow down the different ways one could act to prevent a situation, or to respond to it, so quick action can be taken and the collaterals reduced to a minimum.
- It is a procedure to accomplish or demonstrate a result done in a standard way.
- Recording results after meetings
- Protocol is something that feels like rules in a certain order that needs to be applied no matter what. It is list of rules that needs to be obeyed. In a concept of professionalism, or politics or something that is very strict political social gatherings.
- what remains static, normative, hegemonic
- the front seats reserved for important ppl on a theatre show
- An established set of rules or procedures to follow in a given situation
- Alexandria's definition:
- Kiara's definition: The Protocol is often made up to produce experimentation, but doesn't always results in experimental work...
- Kim's definition:
Medieval Latin protocollum "draft," literally "the first sheet of a volume" Greek prōtokollon [1] "first sheet glued onto a manuscript proto-: "first, source, parent, preceding, earliest form, original, basic" + kolla: "glue" development of meaning: "rough draft; original copy of a treaty, etc." -> "official record of a transaction" -> "diplomatic document" -> (?)
- working according to a protocol is applying a set of step by step instructions to your work
- Step by step guide that is expected to be followed
- fixed procedure designed for a situation
- Melisa's def:
A guideline that gives an instruction. Basically, a way to communicate a task to the appointed person/object etc.
Feedback
Since the water soundscape was too simple, the audiences thought it was like a toilet radio. I felt like doing an English test in the toilet.
Reflection
While reading "Half Sound, Half Philosophy," water was the first thing that came to mind. It embodies sound philosophy in three ways: first, the linguistic fluidity, like Bruce Lee's "be formless, shapeless" embodies water philosophy; second, the sonic materiality - sound waves flow like water, formless yet powerful; lastly, metamorphosis - language is like water, carrying and transforming meaning through different states.
The real underwater sound was not so intense and more potential possibility, there are multiple layers that shows the depth and movement of the water. TTS and the editing did not good enough, we can improve the layering techniques and enhance the sound editing, merge and separate different elements, make the better integration of elements, creating a dynamic and vivid sonic experience that embodies the formless nature of both sound and water.
Readings
Half Sound, Half Philosophy: Aesthetics, Politics, and History of China's Sound Art ; Print length. 232 pages ; Language. English
Radio recording
Concept
We came together for only 1 meeting before the show were we discussed wanting to make a live show through and through. We all wanted to make something that was fun for us to make and not stick to a certain script religiously. We chose Generous Practises by Femke Snelting to 'perform' live and read aloud since it already had the right structure.
Roles
- Wyn(producer)/Claudio(interface)
- Sevgi(host)
- Kim(host)
- Feline(host)
Other
Pre-production
After learning VCV Rack in the course, we wanted to make a sound jamming. VCV Rack is an open-source software, imitating the working process of synthesis modules. We decided to use live jamming as the main protocol and work on live-jamming instruments that we can use on our computers to then connect to the radio stream.
Lukas turned on the stream prematurely so we can get into the spirit of LIVE radio. It was controversial but helpful.
Kim suggested reading one of the texts from the course out loud on the radio. We chose to perform Generous Practises by Femke Snelting with 3 hosts as the contributors. We divided the names into 3 groups and read accordingly. We stopped every chapter and turned the live music show on.
Feline decided she wants to use a program to make beats. She worked on this the whole weekend, Wyn also created a MIDI board on VCV Rack to use during the show. We also decided to use the MIDI board to type out the messages sent through Radio WORM's chatbot. At the end, VCV racks barely worked. We had to put on Sevgi's radio playlist which worked out fine.
Protocol
1.Live Jam Felines bits + KiM Soundboards
2.Live jingle Proto + Cols + For + Collective + Proformance
3.Read Text ·everyone picks a role ·someone else is typing the text
4.Radio Chat Type messages on VCV Rack (Sevgi / Kims Device)
Protocol 1
Protocol 2
Protocol 3
Protocol 4
Post-production
The studio space felt a bit limiting. A missing aux cable made us switch to the DJ booth last minute. Having another laptop input would've helped. Feline had Sonic PI ready but couldn't get it working right to mix live audio with effects. The microphone setup failed and broke supercollider. Sonic PI is good for live sound coding with live loops, but we couldn't use it today. We ran three versions of VCV rack, mostly taking keyboard input. It connected to chat messages and text readings. Funny moment when someone asked for silence to use Shazaam - it just led to more typing as people followed the chat rules. Lukas teased us from the corner about wanting to go live. New things we tried: live camera through Jitsi, fixed ways of doing things, and tools like VCV Rack. For next time, we should share the Jitsi link and maybe use voting. The Jitsi chat disappears when we close it - unlike Radio WORM's chat that stays. Looking back, we needed one more mic to hear Wyn typing and another aux cable. The text started strong with just reading but got weaker near the end. Making things live worked well though. The text gave us rules for being present without much practice, which made it less scary. It felt like theater, playing out these rules live. We wanted no silence, and when typing didn't work well, we made it work with music instead.
Finally, we played tunes! here is a link
Feedback
It reminded listeners of movie credits and those kids' CDs where each character has their own instrument, like Peter and the Wolf and Truffaut's 451 credits
Radio recording
Concept
For Radio show number 5, we setup a fictional call center, which refers to itself as The Company. The Company's main objective was to sell "the Experience of the Product!" In the segments/scripts, one host acts as a call center worker managing multiple calls, another as a supervisor for The Company, and others as callers seeking customer support. Contents, questions and discussions are as generic and non-specific as possible.
Roles
- Claudio(producer) /Charlie(interface)
- Wyn
- Zuhui
- Fred
- Eleni
In this week's radio performance, we use protocols —those rules and procedures commonly found in bureaucratic and corporate systems— as a central theme.
Setup
We used two laptops, one playing prerecorded scripts from the Wiki and another playing samples using Ableton, which also added a distortion effect to one of the microphones.
A phone at WORM, being broadcasted through jitsi
A phone at WORM, being broadcasted through jitsi
Structure
Pre-recorded intro script written and performed
About 10-15 mins of hold music.
...
A caller calls in.
Caller gets annoyed at worker and insults him.
The worker calls his supervisor for help "I will put you on hold".
The supervisor keeps the worker down and tells him to watch again the Training video.
A new caller calls in and she is greeted by an AI assistant.
...
Outro script
Prototype
This radio show tried to explore the power dynamics in call center systems through a series of role-play conversations. It inspired by Sound Jamming (VCV Rack!!), we had a role play in last show, and has different standpoints while our group member read the interview, leading us to rethink the relationship between language, identity, and system. The confusion and questions we encounter reflect the gaps between protocols and real human needs. The conversations, advertisements, and system responses emerge as layers of bureaucratic communication. During our group meeting, we were inspired by shared experiences with customer service. Since the theme of protocols was central to our discussion, we created a fictional call center to examine how language operates within systematic constraints. We wanted to explore how agents serve as mediators rather than power holders, caught between system limitations and customer needs.
Design
How can we reveal the power dynamics in automated systems? How do protocols shape human communication? How do we structure the tension between human needs and systematic responses? It reminds us of the concept of interpretative labor - agents must constantly interpret between rigid protocols and fluid human situations. The system transfers both problem-solving and emotional labor onto agents, who must absorb customer frustrations while lacking the agency to resolve systemic issues. We collected stories from Reddit and classic film scripts about call center experiences, creating four role-play scenarios that demonstrate this double bind, focusing primarily on the user's dilemma within the system.
Sound Techniques
A. Role-play Dialogue
- Character development
- Emotional progression
- System interruptions
B. Sound Elements
- TTS
- Lyric Jungle
- Hold music
- Phone call effect
C. Narrative Structure
- Multiple scenarios
- Advertising breaks
- System messages
D. Tension Building
- Growing frustration
- Protocol limitations
- Human-AI interaction
E. Phone System Elements
Automated messages, hold music, and system prompts that interrupt and shape human conversation.
F. Fake Advertisements
Inserted phone advertisements that highlight the human-AI relationship.
Scripts
We selected and adapted stories highlight the relationship between humans and automated systems. The dialogue serves as a backbone to explore how people are conditioned by machine expressions.
The system sounds create an institutional atmosphere, expressing the cold, automated environment of call centers.
Music and advertisements add ironic commentary on the commercialization of human interaction.
Script 1: On-And-Off
Script 2: AITA
Script 3: CUTTING ME OFF / callcenter
Script 4: Giant Baby
Script 5: Redaction protocol
“Secrecy is another by-product of administrative power.
‘Every bureaucracy seeks to increase the superiority of the professionally informed by keeping their knowledge and intentions secret’, wrote sociologist Max Weber.
Visual representations of ‘official secrets’—as Max Weber calls them—can be found in the form of redacted documents, both for legal, financial, or security purposes. A request for government documents can produce pages full of blacked-out lines, as if it was abstract art. The stupidity and irra- tionality of bureaucratic reasoning as someone within the adminis- tration painstakingly has to go over the text line by line, rendering information useless.” - CAPS LOCK, Ruben Pater
Protocol sheet
using the script of <CALL CENTER TRAINING: PROPER USE OF TONE OF VOICE & VOLUME>
220px
220px
220px
220px
Audio
Hold Music
Unitedn Airlines
Amazon
BestBuy
Fedex
Ikea
Samsung
Polycom
Best Hold Music Ever https://www.youtube.com/watch?v=5r98QdCRR68
Cisco Opus Number One (BADGRRL Rework) https://soundcloud.com/sparx_x_x/cisco-opus-number-one-badgrrl-rework
Hold (Opus number 1 Tribute) https://soundcloud.com/user-849824270-948673776/hold-opus-number-1-tribute
Dial and ringing
Dialing number - hectic
Dial tone
Dial and ringing
Call connecting
Ringing x 3
Ringing x 3
ringing 4min30
When you dial to fax machine instead of landline
Sound of dial-up internet
Dial up modem handshake
Number unavailable
Picking-up
Hanging-up
Voicemail beep
Censoring beeps
0.5sec
1sec
3sec
10sec
Telephone Ringtones & Sounds
Office phone
2010s house phone
Shrill ringtone
Vintage telephone
8bit ringtone
Telephone ringing in distance
Static
Signal Interference
Static noises
Radio static
Tuning radio static
Electrical static
Grainy static
WeeWooWeeWoo static
Weird military static and Jingle
Audio mix
Disturbances in connection
Disturbances in connection + Helphelphelp
Disturbances in connection + Helphelphelp + Hold Music
Intro: Pre-recorded operator message
1. "You’re calling, ‘The company’. Your call is very important to us, it will be answered soon. please wait on the line."
2. "Here at our business, we run the best business that you can possibly find. Nobody else does business quite like us. Thanks for holding"
3. "Are you a premium member of our business yet? If not, you should sign up for paid membership online. We know you don’t wanna do it, but we are going to keep reminding you that you should do it until you actually do. Thanks."
4. "We are currently transferring your call to the next representative. In the mean time, did you know, we won the best business award in 2017? We do our best to run the best business in the world and being best matters the most to us, the best."
5. "Our representative is almost ready to take your call. Just a few more moments while we complete some very, very important internal procedures that we can’t really explain. Thank you for holding."
6. "We’re currently experiencing higher than normal call volumes. But rest assured, you're in the system. Somewhere. You are now a part of something bigger. Please continue to hold."
7. "Did you know, that we only hire one or two telephone operators at a time? We want to make sure you listen to our hold music, cuz we paid a lot of money to license them. Hope you enjoy and thanks."
8. "We’re still here, making sure that you’re waiting. It’s what we do best. Hold on tight and enjoy our pleasant music. Our hold music was scientifically engineered to relax you. If you feel like it’s not, please give it another 10 minutes or so. Thank you for holding."
9. "Fun fact, the hold music you’re hearing right now was handpicked by our CEO during a vision quest in the mountains of Peru. We hope it brings you as much clarity as it brought him. Please continue to hold."
10. "Your call is in the queue, but don't worry—we've recently installed a system that may or may not prioritize your call based on your membership credits. Please hold and we appreciate your patience. In fact, patience is the key to all good things in life."
11. "You’re in line to speak with a representative. But what does it really mean to be 'in line'? Is it a straight path? Or a loop? Either way, we’ll get to you eventually. Please hold."
12. "We’re almost ready to assist you. Almost. ‘almost’ is a strange concept, isn’t it? Always just out of reach. Please continue to hold."
13. "Your call will be answered soon. But what does ‘soon’ really mean? Does anyone ever truly know? For now, just hold. Someone will be with you soon."
14."Did you know, that time is an illusion? Much like our customer service. … “So then.. If you awaken from this illusion, and you understand that black implies white, self implies other, life implies death — or shall I say, death implies life — you can feel yourself not as a stranger in the world, not as something here on probation, not as something that has arrived here by fluke, but you can begin to feel your own existence as absolutely fundamental.”"
Call center training
<CALL CENTER TRAINING: PROPER USE OF TONE OF VOICE & VOLUME>
All pre-recorded operator messages should be recorded following the instruction above.
David Graeber
“The experience of bureaucratic incompetence, confusion, and its ability to cause otherwise intelligent people to behave outright foolishly, opens up a series of questions about the nature of power or, more specifically, structural violence. The unique qualities of violence as a form of action means that human relations ultimately founded on violence create lopsided structures of the imagination, where the responsibility to do the interpretive labor required to allow the powerful to operate oblivious to much of what is going on around them, falls on the powerless, who thus tend to empathize with the powerful far more than the powerful do with them. The bureaucratic imposition of simple categorical schemes on the world is a way of managing the fundamental stupidity of such situations. In the hands of social theorists, such simplified schemas can be sources of insight; when enforced through structures of coercion, they tend to have precisely the opposite effect.”
Outro: Pre-recorded operator message
Radio recording
Concept
The Week 8 Radio Show revolved around the concept of copyright and ownership in the music industry, especially in regards to covers and sampling, as well as the insidious side of manufacturing identity of musical talent in the pop industry. Additionally, the show referenced Cultural Icon ♔ Britney Spears ♔, and her iconic song Gimme More, as well as numerous versions, covers and snippets of the song, as example of the aforementioned themes and concepts.
Roles
- Tessa (producer) /Feline (interface)
- Feline
- Imre
- Zuhui
Setup
Set-Up at Radio Worm
Since their were some unresolved technical difficulties at the radio studio, we were only able to use one laptop (Zuhui's) for the audio input.
We made two soundboards with all the .mp3:
With each soundboard open in two windows.
Scripts
Gimme Lore | Charlie's script
A 'folkloresque' retelling of the history of the Princess of Pop Britney Spear's Gimme More
Based on: Gimme More (Britneyspears.fandom) Songfacts References: Lyrics Britney Spears Songs
Once upon a time in Las Vegas, there was a princess, not yet queen, called Britney. Princess Britney was lucky, for she was much beloved by the folk and commanded all their attention. Especially for her beautiful singing voice, musical talent and sexy moves known to all in the Kingdom of Pop, and beyond.
More so, she was in love herself. With a prince she had married and with whom she had had, soon after, or before, given birth to a perfectly healthy boy.
Oh, she was a happy one, and born to make everyone happy.
But, however much beloved, as was the custom with any heir to the kingdom, the princess's life and action had always been subject to the watchful eye of the folk. After all, the title of a true pop royalty had to be earned and be bestowed by the folk, through vigorous democratic census. As such, a pop princess had to perform as the perfect and proper ICON at all times. So, to make sure the princess didn’t fall short of her title, a dedicated league of chaperones was appointed, to follow and surveil her at all times of the day, and night, and report to the folk, any public display of misbehavior.
Oh to live under such scrutiny, only a true rightful princess could bear it! For Britney however, the incessant patronage by the folk, with their chaperones always around, drove her up against the wall of torment. Especially, since she had become a mother. And as everyone knows, a mother HAS to be judged even more so! And as it happened, the princess had just fallen pregnant, one more time.
To quench all doubt and judgement by the folk, therefore, Princess Britney resolved to prove herself worthy of her position, once and for all! Henceforth, she set out on a mission to compose the most beautiful, most delicate and most splendid of songs the world had ever heard. One song to prove them all. One song will find them. One song to give them all, and when the lights are down to blind them; In the Kingdom of Pop where they always want more.
And so she did happily ever after till the world end. And the rest is history.
Stolen and adapted from "Unlicensed: Bootlegging as a creative practice", Ben Schwartz, Valiz, | Tessa's script
I. Cover Version
A cover can envelope the work, but it can also open it up. The best covers tend to create space; between the original and the copy or reproduction, between the artist and the artist, between the thing and everything else. A cover ask what is possible within what is given, a theft shows what's possible within what's given. Cat Burns recently stole "Teenage Dirtbag", made it black, female, queer. Is that even the same song? Maybe we're asking the wrong questions. Maybe it was never about copying. Maybe it was about stealing all along.
Maybe she just translated language through feelings. Because lately, I, Ben Schwarz/ Tessa/ Anyone reading, have been thinking of theft as a translation. A translator must find what is "unfathomable, mysterious and poetic" in the original and interpret this as the essence of a new language.
Coleman Barks, rumi translator, is known for his translations that prioritize feelings over fidelity. As such, a bootleg, a cover, a theft, must aspire to be greater than a reproduction. It should open up space for the possibility to transform, and even transcend.
However not all of them are created with such noble aspirations, as some people see covers as a mimetic practice. In the global subculture of celebrities impersonations, which involves an intense competitive circuit, greatness is defined by how closely one can get to becoming Michael Jackson, the king of pop, or Britney Spears, princess of the same kingdom. There's no intent to adjust or update, rather the self disappears and in its place, is a red latex jumpsuit, blond hair, and a bright smile. At the core, a mimetic cover is an homage. But a cover's ability to celebrate its source can go further, and in doing so can become something else, such as an interpretive cover.
According to Anthony Huberman, an homage falls somewhere between admiration and research. A tribute maybe? A cover opens up the possibility to express admiration in a way that emphasizes affect over effect. I love it over I get it. We find things that other people wouldn't think of finding there.
"Respect" was originally a song by Otis Redding, in which he demands respect from "his woman" after a long day at work. But the "Respect" most of us are familiar with is Aretha Franklin's rendition. The track surpasses a stylistic interpretation; the most powerful change for the track is actually the context of the word respect, considering the realities of Franklin as a black woman in the late 60s, early 70s. The song became a demand for something that could no longer be denied. She had taken a man's call for respect from a woman, and flipped it. The US had never heard anything like it.
The track demonstrates that even in repetition, there's always a "quality of difference". A cover is never just the same thing, but rather a progression or regression. If a mimetic cover repeats and a transformational cover shifts, then a transcendent cover stutters. Despite the necessity of a cover to work within the limitations of its predecessor (it said original but we've established before there's no such thing as an original piece of work), there remains a possibility for these structures to be manipulated.
Copyright | Feline's Script
Copyright is a legal concept that grants creators exclusive rights over their original works, such as books, music, art, films, software, and other intellectual property. These rights generally cover the ability to reproduce, distribute, display, perform, and adapt the work. Here’s a breakdown of some key aspects:
- Purpose
Copyright’s primary goal is to encourage creativity by giving creators a period during which they can control and profit from their works. It provides an incentive for authors, artists, and other creators to invest time and resources into producing original works.*Automatic Protection In most countries, copyright protection is automatic as soon as a work is created and "fixed in a tangible form," meaning it’s written down, recorded, or otherwise permanently captured. Unlike trademarks and patents, there’s usually no need to register for copyright for it to be valid, although registration can sometimes strengthen enforcement.
- Duration of Copyright
Copyright protection doesn’t last indefinitely. In many jurisdictions, it lasts for the creator’s lifetime plus an additional period (commonly 70 years after the creator’s death). For corporate works or anonymous works, it may last a fixed number of years (e.g., 95 years from publication in the U.S.).*Rights Granted Copyright holders have the right to: Reproduce the work (make copies). Distribute copies
Copyright in Music
Copyright in music is a bit more complex than in other types of works because music usually involves multiple rights and rights holders. Here’s a breakdown of how it works:
- Types of Copyright in Music
In music, there are typically two distinct copyrights:
Musical Composition Copyright: This covers the underlying melody, harmony, lyrics, and other original elements of a song, usually owned by songwriters and composers, often administered by music publishers.
Sound Recording Copyright: This covers a specific recording of the musical composition, which is often owned by the record label that produced it or the artist who performed it.
- Exclusive Rights
Each type of copyright grants specific exclusive rights:
For musical compositions, copyright holders can control reproduction, distribution, public performance, and derivative works. Public performances cover radio play, streaming, live performances, and more.
For sound recordings, copyright holders control reproduction, distribution, and derivative works (like remixes). Public performance rights for sound recordings in the U.S. are limited, although digital public performances (like streaming) are covered.
- Music Licensing
When others want to use a copyrighted song, they typically need to obtain a license. Common types include:
Mechanical License: Allows the licensee to reproduce and distribute a musical composition, like when a song is covered or sold on physical or digital media.
Synchronization License: Required when a song is used in sync with visual media, such as films, commercials, or video games.
Performance License: Allows the public performance of a musical composition, such as in concerts, radio, or streaming services. Performance rights organizations (PROs) like ASCAP, BMI, and SESAC in the U.S. collect royalties for public performances on behalf of songwriters and publishers.*Fair Use in Music Fair use can allow limited use of copyrighted music without permission for purposes like criticism, commentary, parody, or educational use. However, fair use in music is complex and often contentious because even brief samples can be protected.*Sampling and Derivative Works Sampling is using a portion of a copyrighted song in a new work, like hip-hop tracks that incorporate parts of older songs. Even short samples usually require permission (a license) from the original copyright holders, as they create a derivative work.
- Duration of Copyright in Music
Like other copyrighted works, music copyrights generally last for the creator's lifetime plus 70 years. However, sound recording copyrights can have slightly different durations depending on the country.
In sum, music copyright involves layered rights and stakeholders, with various licenses needed to legally use songs in different ways.
Sampling
Sampling in music is the act of taking a portion, or "sample," of an existing sound recording and reusing it in a new song or musical work. This sample can be a melody, rhythm, vocal phrase, or any sound that has been recorded. Sampling is popular in genres like hip-hop, electronic music, and pop, where artists often draw on existing works to create new, unique sounds. Here’s a closer look at the practice of sampling, its legal implications, and creative potential:
- Types of Sampling
Looping: Repeating a sample, often a short drumbeat or rhythm, to create a foundation for a new track. Chopping: Breaking up a sample into smaller segments and reordering or manipulating these pieces to create a different sound. Interpolation: Re-recording a melody, vocal line, or beat instead of directly sampling it from the original recording. This approach can avoid the need for a license for the sound recording itself but still requires permission for the musical composition.
- Legal Aspects of Sampling
Sampling usually requires two types of permissions:
Sound Recording License: This is permission from the owner of the recording itself, typically a record label. Composition License: Permission from the songwriter or music publisher for the underlying composition, even if the sample is as short as a single melody line. Failure to obtain proper licenses for a sample can result in copyright infringement, leading to legal issues, fines, and even the forced removal of the song from public distribution.*Challenges and Costs in Clearing Samples Complexity: Identifying and locating copyright holders can be complicated, especially for older songs or obscure samples. Cost: Clearing samples can be expensive, with fees depending on factors like the sample's length, the popularity of the original track, and how it will be used in the new song. Time-Consuming Process: Negotiating and obtaining permissions can take time, which can slow down or limit the creative process for artists.
- Creative Impact of Sampling
Sampling is often used to pay homage to past artists or genres, blending influences to create new sounds. It can add layers of history and meaning to music, as a sample can evoke nostalgia or provide context for listeners familiar with the original. For example:
Cultural Connections: Sampling allows artists to connect with a certain era, style, or artist. It can create a bridge between different musical generations. Aesthetic Choices: By manipulating samples—pitch-shifting, reversing, or altering sounds—producers and musicians can build an entirely new auditory experience from existing sounds.
- Famous Legal Cases and the "De Minimis" Debate
Legal cases around sampling have shaped the music industry’s approach to copyright:
Grand Upright Music, Ltd. v. Warner Bros. Records, Inc. (1991): This landmark case involved rapper Biz Markie’s unauthorized use of a Gilbert O’Sullivan song. The court ruled in favor of O’Sullivan, leading to stricter rules around sampling. Bridgeport Music, Inc. v. Dimension Films (2004): This ruling reinforced that any amount of sampling requires a license, rejecting the idea that a short or “de minimis” sample might be considered fair use. As a result, even brief, highly altered samples are generally not legally safe without permission, though debates over “de minimis” sampling continue in some legal circles.
- Sampling in the Digital Age and Sampling Libraries
Today, there are various royalty-free sample libraries and sites (e.g., Splice, Loopmasters) where artists can legally acquire samples for use without seeking additional licenses. However, royalty-free samples come with their own licenses, which usually prevent reselling or using them in isolation, and they may lack the distinctive identity that makes sampling historical music so compelling.
- Ethical Considerations
Some artists view sampling as a form of musical "collage" and argue it is a transformative, creative process that enriches both the new and original works. However, there’s also debate on whether it’s fair to use another artist’s work without compensation. This balance of creativity, homage, and ownership rights is at the heart of the ongoing discussion around sampling.
In Summary
Sampling is a powerful tool for musical innovation, but it’s tightly regulated to protect original artists’ rights. The practice sits at the intersection of creativity, law, and ethics, and while it opens doors to endless creative possibilities, it requires careful navigation of copyright law.
Copyleft in Music
Copyleft in music is about allowing creators to share their work freely, granting others the right to use, modify, and distribute it, often with the requirement that derivative works remain open and available under similar terms. Here’s a closer look at how copyleft applies in music:
- Creative Commons Licenses
The most popular way to apply copyleft in music is through Creative Commons (CC) licenses. Creative Commons offers a range of licenses that musicians can use to allow different types of usage while retaining certain rights. Some key CC licenses in music include:
CC BY (Attribution): Allows others to remix, adapt, and build upon the music, even commercially, as long as they credit the original artist. CC BY-SA (Attribution-ShareAlike): Others can modify the work for any purpose, including commercial, but any derivative works must be shared under the same terms, preserving the copyleft principle. CC BY-NC (Attribution-NonCommercial): Allows others to remix, adapt, and build upon the music, but only for non-commercial purposes. These licenses give musicians the flexibility to control how their work is shared, reused, and remixed while promoting free access and collaboration.
- Open Music Movement
The Open Music Movement is inspired by copyleft principles and promotes music that anyone can access, use, and modify. Musicians release songs under open licenses to encourage others to build upon their work. Key groups and platforms supporting open music include:
Jamendo and Free Music Archive: Platforms where musicians can upload and share music under open licenses, often allowing users to download and use tracks for free or with simple attribution. Libre.fm: A free music platform committed to open music, similar to Last.fm but focused on music licensed under Creative Commons and other free licenses.*Copyleft in Sampling and Remix Culture For musicians who want to share their work for sampling or remixing, copyleft-aligned licenses are ideal. They enable artists to retain credit while encouraging others to use their music to create new works, a significant benefit in genres like hip-hop and electronic music, where remixing and sampling are fundamental.
For example:
CC BY-SA licenses are well-suited for music that might be sampled or remixed, as they allow modifications but ensure that derivative works remain open. Some artists create sample packs and release them with open licenses, making them freely available for other musicians to use in their productions.
- Copyleft for Sheet Music
Copyleft principles also apply to sheet music. Platforms like IMSLP (International Music Score Library Project) host public domain and copyleft sheet music that musicians and composers make freely available. Similarly, Mutopia Project provides sheet music of classical pieces under open licenses, which is particularly useful for musicians looking for free and legal access to musical scores.*Legal and Practical Limitations While copyleft allows greater freedom, it’s not without limitations:
Control Over Commercial Use: Musicians who release work under open licenses often have limited control over its commercial use, depending on the license type. Some licenses (like CC BY-NC) prevent commercial use, but others allow it. Potential for Misuse: Open licensing can sometimes lead to unauthorized commercial exploitation if users ignore the license terms or fail to provide proper attribution. However, open licenses do provide a legal foundation to address such misuse.
- Copyleft and Fan Communities
Some artists encourage fan-made content under copyleft-like principles, allowing fans to create remixes, covers, or videos with the artist’s music. This approach fosters community engagement, though it doesn’t always involve formal licensing. Artists like Nine Inch Nails and Radiohead have occasionally released stems or tracks under permissive terms, inviting fans to remix and redistribute their work non-commercially.
In Summary Copyleft in music is about sharing and openness. Through Creative Commons and other open licensing models, musicians can allow their music to be freely accessed, remixed, and shared, sometimes with conditions that ensure derivatives remain free. This approach is particularly popular in genres that embrace remix culture and is supported by a growing number of platforms dedicated to open music.
Covers
Cover music refers to a new performance or recording of an existing song by someone other than the original artist. Unlike sampling, which uses portions of a previous recording, a cover song involves creating a new rendition of the song’s underlying composition—its melody, lyrics, and structure. Covering music is popular among musicians and fans and can introduce songs to new audiences. However, covering songs involves specific legal considerations. Here’s what to know about cover music:
- Mechanical Licenses for Cover Songs
Requirement: When artists want to record and release a cover of someone else’s song, they generally need a mechanical license to legally reproduce and distribute the composition. This license gives permission to record the song but doesn’t involve using the original recording—just the underlying composition. How It Works: In the U.S., mechanical licenses can be easily obtained through organizations like the Harry Fox Agency or services like Easy Song Licensing. Once an artist has a mechanical license, they can legally sell or distribute their version of the song. Royalties: For every copy of the cover song sold or streamed, royalties are paid to the copyright holder of the composition (usually the songwriter or publisher).*Public Performance Rights When cover songs are performed publicly, such as in concerts, bars, or streamed online, public performance licenses are required. These licenses are usually handled by Performing Rights Organizations (PROs), like ASCAP, BMI, or SESAC in the U.S., and PRS in the UK. Venues and platforms typically have blanket licenses with these organizations that allow for the performance of any song in their catalog, so individual artists or bands usually don’t need to secure performance licenses themselves when playing covers live.
- YouTube and Online Video Platforms
Posting a cover song on platforms like YouTube or Instagram can be complex. Many of these platforms have licensing agreements with music publishers that allow cover songs to remain available, but rights holders may still claim ad revenue from these videos. Content ID System: YouTube uses Content ID to identify copyrighted compositions, which allows rights holders to monetize, block, or track views of cover videos. Many cover videos remain live as long as ad revenue goes to the original rights holder.
- Transformative Covers and Fair Use
A transformative cover—one that significantly changes the original song (e.g., altering the lyrics for satire or parody)—might fall under fair use. However, this is a gray area and often requires a legal interpretation. If a cover is too similar to the original, fair use may not apply, and permission might still be needed. Parody covers may sometimes qualify as fair use if they comment on or critique the original song, but to avoid legal issues, it’s usually safest to obtain permission or consult with a copyright expert.
- Derivative Works and New Arrangements
If a cover significantly changes the arrangement or lyrics, it may be considered a derivative work, not just a straightforward cover. Derivative works generally require direct permission from the rights holder, as they go beyond simple reproduction. For example, creating a jazz version of a pop song with extensive modifications to the harmony or melody might qualify as a derivative work rather than a cover, requiring additional permissions.
- Cover Songs on Streaming Services
Distributing cover songs on streaming platforms (e.g., Spotify, Apple Music) typically requires a mechanical license, just like selling physical copies. Services like DistroKid and CD Baby help artists legally distribute cover songs by managing licensing and royalty payments. Streaming platforms themselves pay royalties to songwriters and publishers for covers as part of their standard licensing agreements, so artists uploading cover songs to these services often only need to worry about obtaining the mechanical license.
- Benefits of Covering Songs
Covering songs can be a way for emerging artists to gain attention by performing familiar songs, often attracting listeners who might then discover their original music. Covers can also be an homage to favorite artists and influences, with fans appreciating new interpretations of well-loved songs. Some artists have even launched their careers through unique covers, like Whitney Houston with her cover of Dolly Parton’s "I Will Always Love You," or Jeff Buckley’s interpretation of Leonard Cohen’s "Hallelujah."
- Examples of Popular Licensing Services for Cover Songs
Harry Fox Agency (HFA): Manages mechanical licensing in the U.S. and is a common go-to for licensing covers. Loudr and Easy Song Licensing: These services simplify the process by helping artists obtain necessary licenses for covers and taking care of royalties. DistroKid: Allows artists to distribute cover songs to streaming platforms and handles the necessary licensing and royalty payments on their behalf.
In Summary Cover music is a popular and often legally straightforward way to reimagine and perform existing songs. By obtaining the correct licenses and paying royalties, artists can legally release cover songs, allowing them to engage with audiences through familiar music while exploring their creative interpretations.
Ownership of identity script | Zuhui's Script
https://pad.xpub.nl/p/ownership_of_identity
inspired by the monologue from The Fall of the House
+ stealing lines from k-pop industry forum
**read it with a tone of jaded, pop industry sociopath with the lack of humanity on steroids**
"When you find an artist, don’t just make them a star. Stars burn out, stars fade. No, make them a channel. Something you can tune into, subscribe to, binge-watch. Get the fans hooked on their content, not just their music. You’re not just creating a musician—you’re crafting a 24/7 stream of brand identity, a character arc you can control, a personality you can update, reboot, and reformat whenever the metrics demand it.
First, build the ‘backstory.’ Get the fans to feel like they discovered them, saw them raw, saw them 'before they were polished'—because, of course, we want to think they’re real. But filter it, sculpt it. Get them singing in their bedroom, voice notes in the shower. They’re ‘just like us,’ but on-brand. Every little imperfection, every hint of vulnerability should be carefully curated, because authenticity is the premium package these days.
Then? Optimize. Decide what’s trending and wrap it around them. Are people nostalgic for the ‘90s? Put them in vintage tees and scrunchies. Are they craving dark, edgy vibes? Send them to a therapist for ‘rehabilitation’ and make sure they’re caught reading existential philosophy book on a park bench or something. You’re crafting a lifestyle, something the fans can live vicariously through. They’re not just an artist—they’re an aesthetic.
Now, give them a show. Not an actual show, of course—people don’t come for the real story. Give them an ongoing soap opera, something that the fans can’t look away from. Stage every relationship, every heartbreak, every tweet that ‘accidentally’ goes viral. Let them unfollow and re-follow their exes, post cryptic lyrics that fans can analyze, make every week feel like an episode with cliffhangers. And always make sure they’re a trending topic, like they’re part of your daily news feed.
Then spice up the narrative. Create a storyline for their life, how hardworking young artist struggling in the pop industry, the tears, blood and sweat. Or blood, tears and sweat. The pain of clawing their way up to to ‘make it’. Every long studio night, every little setback, every ‘candid’ moment of self-doubt—it’s all part of their climb, their heroic rise. Then package it, make it look authentic, make it feel real.
And to cement it? Make it cinematic. Plan a 3 episode worth Netflix documentary, or a 4 part YouTube series. Title it something like "Homecoming," “Raging fire" or “Break the silence"—something that sounds brave and monumental. In Episode 1, they’re a raw talent, innocent, humble beginnings. Episode 2, they’re struggling, battling through the industry machine. Episode 3, the triumphant rise, the tears, the crowds chanting their name. Capture every tear, every raw moment as if it’s a revelation, like it’s truth.
By the end, the fans aren’t just watching an artist—they’re following a hero. They’re invested in the dream, hooked on the storyline. Every song, every lyric feels like a chapter in this grand epic you’ve orchestrated, every concert a triumphant return to the stage. People buy tickets to feel the victory, buy merch to feel part of it. You’ve made their life a myth, and the audience is paying to be part of the legend.
Now monetize. Their name? Trademark it. Their image? Copyright it. Release limited-edition merchandise every time they wear a new outfit. The only way the fans can ‘really’ get close is if they buy the backstage passes, the personal livestreams, the VIP meet-and-greets. People want access, and you make them pay for every inch. Release “exclusive” content on a premium platform, where they can read the artist’s personal journal or get a front-row seat to their self-care routine. Why not charge a monthly subscription? 7.99 to ‘follow their journey’— 12.99 for the deluxe tier. Depends on how much they care for their star.
But don’t just stop there. Expand. A product line, a skincare brand, maybe even their own fragrance. Because the fans don’t just want to hear them—they want to smell like them, live like them. Every piece of them is a potential market, every part of them something you can package, promote, and profit from. And if they ever get tired? Remind them that this isn’t just a career—it’s a community. Tell them they have a ‘responsibility to their fans.’ Make them feel guilty for wanting space, for wanting something real. Because they’re not just a person anymore—they’re a full-scale media ecosystem.
And if they ever try to escape it, ever try to post something unapproved, or say something that doesn’t fit the ‘brand’? Remind them of the contract. Remind them that their very name, their likeness, is company property now, like an algorithm you can turn on and off. And if they still want to leave? Start a rumor, leak a scandal, say they’re ‘difficult’ or ‘burnt out’—spin their exit as a plot twist, something you can use to rebrand them later. Make them a hashtag. ‘Free Britney.’ Start a petition. Because even rebellion, even freedom, we can monetize.
And then, once you’ve stripped away everything that made them real, everything that made them 'them'—you don’t even have to keep them. Because now you’ve got the blueprint. You can just create the next one. The perfect artist, but more streamlined. A new face, a new story, built exactly to spec. Because in the end, the artist isn’t the point. The story is the point, the brand is the point. And you can tell that story again and again, endlessly.
So sit back, watch the ad revenue roll in, and remember: you’re not just selling music. You’re selling a feeling, a fantasy, a carefully manufactured dream that keeps people coming back. And all it costs is a person."
Immortalized Imprisonment and Transforming Identity | İmre's Script
In cultures with oral history, folklore is how information is passed down, by elders after dinner surrounded by people drinking tea. The stories of creation, war love and redemption pass like biscuits shared and bitten. They mark the identity of the people, not only their victory and loses but their morals, virtues and those that are valued. They didn't belong to anyone but the people, they weren't a property to be owned or created, they were neither original not unique. Identity can never be fixed, will never sit still, it is made and remade with every second, every new information every instant of a new encounter. As the identity of the culture changes so does the stories, as the myths are told and retold new customs enter in between speeches, the values pick from the hands of the heroes and reshapes their journey. The transformative nature of folklore grants cultures control over their identity. One such encounter that shaped and reshaped the stories of the old were religion. As Christianity spread the story of Eve, a women's first action became sin, the consequence pain and suffering. As Islam started mingling with Dede Korkut, the women who took arms and fought on horseback turned into damsels to be saved or disappeared all together. Change is the only constant, transformation can sometimes means censor.
Copyright was first borne from the need of censoring dangerous information spreading. Printed work had to be licensed by those chosen by the rulers. The license gave the print-houses the right to copy. The licenses were granted not to the authors, but to print-houses and publishers. It was meant to stop the spread of those ideas deemed dangerous, not to protect the rights of their creator. In time our understanding of copyright changed, and was adjusted, now it needs the creation to be fixed and stable.
To be transformed into a saying, even at the price of her/his life. To lose the chance to transform by becoming writing, writing that remains folklore changes with the culture, doesn't stay constant, it is allowed to live and breath and go through its own journey. However the record of what was will be lost. Immortality of a singular moment a specific arrangement of words speech flies, writing remains if you are defined by your work, do you chose remembrance over transformation to turn yourself into a statue to be consumed for recognition "active invisibility to provide the freedom of not being tied to your creations" forced visibility, being made a property, held responsible with no decision making power. being immortalized in your imprisonment. It's Britney Bitch.
Can I steal what has never been yours? play with it? Burn it, shuffle, sample, elongate? can I make it mine (ours), color the walls of your cell? Steal your voice, use your name? Take your story from online sources, and rewrite it myself
Its never about my own position to reclaim my name, but always about my name being reclaimed by the agenda of the people that I'm associating with I am sorry Britney, I can't free you, I couldn't even steal your name, song or story since none belonged to you, but hey, maybe your name can free me?
Tracks
Original
Baby one more time
Lucky
Toxic
Gimme more
Oops I did it again
Slowed
3 percent speed
Baby One more time
#Religious #dramatic
Baby one more time, 3% Speed, ver 1
Baby one more time, 3% Speed, ver 2
Baby one more time, 3% Speed, ver 3
Toxic
#Suspenseful #hysterical(?):reminds me of woman screaming and whispering #Mechanical
Toxic, 3% Speed, ver 1
Toxic, 3% Speed, ver 2
Toxic, 3% Speed, ver 3
Oops I did it again
#windy #metalic buddhist monk siren #relatively quiet
Oops I did it again, 3% Speed, ver 1\
Oops I did it again, 3% Speed, ver 2
Oops I did it again, 3% Speed, ver 3
Oops I did it again, 3% Speed, ver 4
Sped up
300percent speed
Toxic
Oops I did it again
Lucky
Gimme more
Baby one more time
500percent speed
Toxic
Lucky
Oops I did it again
Gimme more
Baby one more time
Reversed
ToxicReversed
LuckyReversed
Oops I did it againReversed
Baby one more timeReversed
Gimme moreReversed
Covers
Circus, Dirty Loops (Britney Spears Cover)
Everytime, Lewis Capaldi (Britney Spears Cover)
Oops!.. I did it again, Vintage Marylin Monroe Style Britney Spears Cover, Haley, Reinhart
Toxic, Jennel Garcia (Britney Spears Cover)
Toxic, Kelly Clarkson (Britney Spears Cover)
Kelly Clarkson effect = anytime Kelly Clarkson covers a song, her interpretations of popular songs are often so powerful and unique that they leave a lasting impression, sometimes rivaling or even surpassing the original versions.
Samples
Toxic Intro
Sample used in the intro of Toxic (2003)
It's Britney bitch
Oiginal snippet
Pop culture usage
The Office, Michael Scott
Ellen Show
Talk show, Paris Hilton
BBC, Jay-Z
Others
Referential
Who is it? -It's Britney Bitch
Leave Britney Alone
Snippets
1: "Making money off of her"
2: "Leave her alone"
3: "speaking of professionalism"
Script recordings
Zuhui / Ownership of Identity
FULL TRACK
(monologue starts at 2:16)
Monologue + Snippets
full ver
1: "You’re not just creating a musician—you’re crafting a 24/7 stream of brand identity"
2: "a character arc you can control, a personality you can update, reboot, and reformat whenever the metrics demand it"
3: "They’re not just an artist—they’re an aesthetic."
4: "Because they’re not just a person anymore—they’re a full-scale media ecosystem."
5: "Remind them that their very name, their likeness, is company property now"
6: "Free Britney"
Radio recording
Concept
Since our radio show #9 took place right before the Special Issue #25 Event, we decided on an improvised radio show. We had one meeting in advance for about 10 minutes and had the idea to have an actual radio show planning meeting during the show with a pad, as we did it for other radio shows. In advance, we brought Vinyls we found at a free market, instruments, and the text "Radio as Radical Education" to talk about. We left it open about what we wanted to talk about in the show, since we kind of planned an actual show during the show, which never took place.
Text we talked about in the show: Radio as Radical Education – Editors: Grégoire Rousseau, Nora Sternfeld, 2024 Radio as Radical Education
Pad during the show: Pad during the show
Roles
- Feline(producer) /Alexandria(interface)
- Eleni(host)
- Chrissy(host)
- Kiara(host)
Other
Tracks mixed with love by QueenFeline and Lexie
- Dave
- Ken Ishii - Jelly Tones
- The Hand - Three is a Crowd
- Guillotine - National Razor
- Dolly Parton - Jolene
- John Denver – Take me Home Country Roads
- The Hand - Holy War
- The Hand - Screw my Head
- JS Bach - Concerto n.1 BWV 1046 in F major
- Music inspired by The Lord of The Rings by Bo Hansson - The Grey Havens
- Flairck - Voorspel in Sofia
- Dave - Amoureux (secret love)
Played Vinyls
- Countrys Greatest Hits
- Dave – Dave
- Flairck – Variaties op een dame
- Johann Sebastian Bach – Brandenburgische Konzerte Nr 1 - 2 - 3
Chat
Radio recording
by Chrissy, Imina, Kiara, Tessa & Charlie
Concept
The Week 7 Radio Show (or Week 10, after rescheduling) is all about Lost Music ♫♪ ! "Lost" as in: Lost to time, music from ones youth and past stages in life; The nostalgia and the emotions that can be bound to certain pieces of music. And "lost" as in: Lost media, or the losing of a particular way in which we listened to, engaged with, shared and experienced music back-in-the-day; Before the advent of the streaming platforms and the decline of physical media, bootleg CDs and the pirating of it all. ☠︎︎
Roles
- Charlie(producer) /Tessa(interface)
- Chrissy(host)
- Imina(host)
- Kiara(host)
Prompts
Hello XPUB1!☺
For the Week 7: Radio Show, we would love to hear your songs!♫♪
More specifically, songs from your early teenage years (13 to 16y.o.)! There are specific themes for the songs we are looking to collect, explained in the sections below.⇊
Please, upload your songs as .mp3, add your name, the name of the song and artist and if you want, a short description as to how & why your song relates the theme/prompt. We already uploaded a song as a template to copy/paste with your songs.
Thank you!♡
SHAME
Prompt: A song you were ashamed of liking when you were 13-16.
Charlie: "Ningyo Hime" - Rie Tanaka (CHOBITS Anime Ending)
Age: 13-15
Context: Chobits was the first Manga I ever saw/read at 10 y.o., which sparked my love for Manga and Anime, which ultimately sparked my love for drawing and arts.. I still LOVE the song but I was super ashamed to unironically listen to anime music back in my early teenage years.
Zuhui: "Prologue" - David Newman (Soundtrack from Disney movie 'Anastasia')
Age: 14-16
Context: I remember feeling a sense of shame for liking music from animated series or movie when I was a teenager. As a kid I wanted to be seen as grown up as much as possible and do grown up stuffs, so enjoying something from animated contents made me feel immature. Apart from how misleading the historical facts are in this Disney movie, I still love the atmosphere and the song it created around the pre and post Russian revolution, with magic in between.
Alexandria: "Joker And The Thief" - Wolfmother
Age: 13-15
Context: I found it very hard to make friends starting highschool, and one of the things I was hoping was that there'd be people who liked the same music I did. Unfortunately very few people did and I kind of got bullied out of the things I liked and into things I didn't really care for. Thankfully now I can very much embrace the music I loved back then, and most of it I still do!
Kiara: "What Makes you Beautiful" - One Direction
Age: 12-14
Context: Everyone was listening to One Direction back then, and even if I was trying hard not to fit it the mould...I couldn't help but like the song...
Martina: "Memento Mori" - Crywank
Age: 15-16
Context: I was a very angsty and existential teen, so I related a lot to this song but now I feel shame/ cringe when reading the lyrics.
Imina: "Follow Me Down" - The Pretty Reckless
Age: 16
Context: I was 16 & sitting in the car with my dad after I had just gotten the new single of The Pretty Reckless. Driving back home from the city I was like "Dad, let's listen to this!! It's gonna be amazing" not knowing about the beginning of this song (which understandably is embarassing at 16 in the car with your dad listening in silence). However the song is great and we both agreed on that after listening.
Claudio: "Obsesión" - Aventura
Age: 13-16
Context: I remember listening to a lot of latin american music when I went to visit my father and his family, we also listened to it when we travelled by car because he used to make mixes on CDs. All in all most of the songs were normalized to me but I remember feeling shame when playing them when my friends were around.
Chrissy: "Mittelfinger hoch" - Casper, Favorite & Kollegah
Age: 15-16
Context: I was a super huger Casper Fan at the time, but this song was very different from any other he'd released & I was kind of ashamed liking this one, because idk it was so „gangster“?! & also because I really hated the other featured rappers in the song.
Feline: "Beauty and a beat" - Justin Bieber ft. Nicki Minaj
Age: 14/15
Context: No context, this was just the shit, but none of my other friends liked it.
Kim: "Nicht Nichts" - AnnenMayKanthereit
Age: 15
Context: I liked the energy of the song but was generally ashamed of listening to music in german, it felt so explicit.
İmre: "King For a Day" - Pierce The Veil ft. Kellin Quinn
Age: 13-14
Context: It was exactly what I needed at the time but if people from my class heard it I think my depression would prove itself very difficult to hide.
Eleni: "Lolly" - Justin Bieber ft. Juicy J
Age: 15
Context: My two best friends were OBSESSED with Justin back in the day yet I never engaged with the craze. When I got a Bieber song stuck in my head I would feel "ashamed" for liking it, because I wasn't a mega fan, so I wasn't "worth it". It's so funny to think now, but also an interesting introspection of my teenagehood. Extra shame points because the theme was explicit.
Tessa: "Feel it All" - Tokio Hotel
Age: 14 - 16
Context: We were a group of 6 girls back in school, 5 of them massive fans of either One direction or 5SOS (that I actually enjoyed but was never an actual fan of), and during that time, I rediscovered Tokio Hotel through a friend of a friend and fell back into it. The girls never really got it, and you best believe I would never play TH at sleepovers.
GUILT
Prompt: A guilty pleasure song from your teenage years (you still listen to).
Imina: "You'll Always Find Your Way Back Home" - Hannah Montana
Age: 12-14
Context: If Hannah Montana can find her way back home, so can I :')
Zuhui: "Pump it" - Black Eyed Peas
Age: 14-16
Context: I used to be a big fan of the Black Eyed Peas as a teenager because back then they were the coolest thing ever. I still listen to some of their songs, but I think I feel guilty about it because my friends think they're cringe. It's mostly because their music is now played regularly at tasteless pubs and clubs during 2000s-themed nights(but I would still love to dance my ass off to this).
Alexandria: "Unravel" - Toru Kitajima
Age: 14-15
Context: Was absolutely obsessed with Tokyo Ghoul and the anime's opening and I still sing it at karaoke nights, but I'd be hesitant to admit that to anyone outside of that bubble.
Kiara: "Tatoue-Moi" - Mozart L'Opéra Rock
Age: 13-16
Context: It's a musical, the lead singer is Italian and has this sexy accent when singing in French... I know the lyrics by heart <3.
Martina: "Only Love" - Ben Howard
Age: 13
Context: I remember someone introducing me to Ben Howard in secondary school, this is probably his most overplayed song- I still love it though!!!
Claudio: "Il mio Inferno" - Skruigners
Age: 16
Context: From my favorite Italian punk band, some of their songs last 20 seconds and are just explosions of words and instruments, some last 1 minute and state a malcontent and repeat it a couple of times before the song ends abruptly. This one is a bit of both.
Chrissy: "3 Minuten" - Prinz Pi
Age: 15-16
Context: The song is about party youth & the struggles of being a teenager in Germany at that time & we used to listen to it at parties & it still reminds me of that time in a good & nostalgic way. Even though Prinz Pi is kinda cringe for an adult person.
Feline: "Chiquitita" - ABBA
Age: 15
Context: Its ABBA. I have nothing to add to this.
Eleni: "She Looks So Perfect" - 5 Seconds of Summer
Age: 16
Context: A banger I still revisit every now and then. I was never a boyband girlie but this is the closest I've come to it!
Kim: "Otherside" - Red Hot Chili Peppers
Age: 14 to now
Context: I listened to many Red Hot Chili Peppers Songs throughout being a teenager (though was never a 100% fan, just something that was always there), it was not really 'cool' back then - I still like some of their songs for their energetic / emotional vibes
İmre: "Blank Space" - Taylor Swift
Age: 13 to still but rarely
Context: Needless to say I am not the biggest fan of Taylor Swift the person, but I can not deny that I enjoy the music she makes. Getting to admit I liked her songs as an 13 year old was the first time I willingly and consciously step outside of the "I'm not like other girls" mindset. Not the feminist icon we need but the feminist icon the world deserves (accusatory).
Tessa: "Prendre L'air" - Shy'm
Age: 14 to 25
Context: This song makes me go insane, like possessed by miss Shy'm herself. The halftone change? Literally perfection. The track? Awfully, insanely, disgustingly good (especially the electronic violins). Perfect karaoke song, and I'm not ashamed of it anymore.
Charlie: "Fuck You" - Sleeping With Sirens
Age: 16
Context: Deep in my emo awakening, Pop Goes Punk was my way of still listening to pop music. It was NOT very popular within my friendship circle at the time (purist metalheads and punks ugh) but was my little guilty pleasure. Some covers just go so hard! <3
SORROW
Prompt: A song that made you sob or which you listened to when you were terribly sad.
Alexandria: "Sometimes" - The Drones
Age: 16
Context: This song always managed to hit the melancholy just right, violent sobbing included!
Fred: "Candles" - Daughter
Age: 16
Context: When I was depressed and endlessly bored at boarding school, I used to sit in my room for hours and listen to Indie Shuffle. This is one of the songs that brings me back to that time. Sorry to everyone I sent this to.
Kiara: "Landfill" - Daughter
Age: 15-16
Context: I discovered this song because a friend of mine covered it at a high-school concert. She was sending a message to her ex who cheated on her at the time by singing this. It hit hard and it's now my go-to when I'm sad.
Martina: "Water Me" - FKA Twigs
Age: 16
Context: I had a massive FKA Twigs phase during this time, I remember listening to this song constantly when I took the bus back in Malta, dramatically looking outside the window as I listened.
Imina: "17" - Youth Lagoon
Age: 15-16
Context: This song immediately takes me back to tumblr-days when all I did was sit at home feeling misunderstood by the world but found my people on there. It also evokes the naive feeling of believing everything can happen for you when you're 16/17.
Claudio: "Triste" - Mina
Age: 13-16
Context: The song name says it all, it translates to "Sad". The singer constantly repeats "Sad, like... Sad, like...". I used to listen to this when I was sad to the point that I was tired, it felt like listening to a lullaby.
Chrissy: "Eigentlich wollte er nie ein Liebeslied schreiben" - SDP
Age: 13-14
Context: The song is about break-ups & other stuff I didn’t really experienced so much between 13 & 14 & still felt somehow understood? But remember so clearly how I was sitting at my window, smoking & thinking „oh boy, love & live is so hard“ haha
Eleni: "I Will Follow You Into the Dark" - Death Cab for Cutie
Age: 14-16
Context: The realization that one day I WILL die started to haunt me in middle school. I would lose sleep for days and cry when I was alone, it was a mess! This song would ignite that feeling and still does.
Feline: "Jealous" - Labrinth
Age: 14-today
Context: The piano. The lyrics. Just ugh heartbreak.
Kim: "Interlude" - London Grammar
Age: 14-16
Context: most listened song of 2015 - not a very good year
İmre: "My Immortal" - Evanescence
Age: 13
Context: Picture this, a 13 y/o imre, laying in bed at 5 am on a school night, daydreaming about an "impossible relationship" going on between herself and the girl she has a crush on. No one knows she likes girls, she is still trying to make sense of it herself.
wyn: "Little Girl In The World" - Eman Lam
Age: 14-16
Context: it is normal for teenagers to be sentimental and experience feelings of helplessness and discomfort.
Tessa: "Putains Vous M'aurez Plus" - Saez
Age: 16
Context: First ever breakup, this used to be "our song", even though the song itself is about a breakup. Meta way of telling me they would cheat on me in advance I guess?
Charlie: "Love For a Child" - Jason Mraz
Age: 14-15
Context: The song talks about the tumults of being a child of divorce and being neglected in some ways. During the time when my parents first separated, we'd always listen and sing along to the whole album in my mom's car. I don't think she knew how much some of the songs 'hit me in the feels' back then, but I can also see how she could relate to many of the lyrics. ~ "I'd like to believe it was all about love for a child."
LOVE
Prompt: A song from an artist/artists/band you still listen to today.
Sevgi: "Haberin Yok Oluyorum" - Duman
Age: 15
Context: Duman's concerts were the first concerts where I went with my friends, drank beers and had loads of fun. I loved this song because the crowd would become one and sway one way and then the other together and it felt incredible to finally be a person but also belong to the crowd.
Alexandria: "Easy Easy" - King Krule
Age: 14-16
Context: I loved King Krule for a lot of reasons, his accent, his vibe, his sound, it was definitely my first musician crush.
Kiara: "Breezeblocks" - Alt-J
Age: since 15 to forever <3
Context: Gym class: we have to make choreographies and choose a song to match with. One of my friends suggests Alt-J, i don't know them. She makes us listen to it, we agree. It's been one of my favourite bands ever since, saw them twice live, they're amazing.
Martina: "Never Let Me Down Again" - Depeche Mode
Age: 15
Context: My dad is obsessed with Depeche Mode- since I can remember till the present day, he plays all their albums in the car. He also plays them at home while he's working, their songs started to feel like background noise in the house. But this specific song, along with many others by the band, is great.
Imina: "Disease" - Lady Gaga
Age: 12-27
Context: I love Gaga. I have loved Gaga since I was 12 and my dad gifted me "The Fame" (and my first fav song was "I like it rough", lol). I think nothing and nobody has influenced my teenage years/coming of age as much as she has. I never thought I'd still sell my soul to see her live but here I am. Her new single came out on Friday and it's amazing.
Chrissy: "ReEducation (Through Labor)" - Rise Against
Age: 13-30
Context: I actually mainly listened to Rock, Metal(core), Alternative & stuff like that between the ages of 13 & 16 & this band is still a big part of my monthly listening. Back then I had no idea what the lyrics were about, but since knowing them I love the band even more <3
Eleni: "Future" - Paramore
Age: 10-26
The self-titled album came out when I was 15, this is one of the best tracks of the album. Paramore have been my number one band since I listened to Decode on MTV one random day in 2008 and after that I made my older cousin burn "Misery Business" (actually RIOT!) on a CD for me!
Feline: "Unwritten" - Natasha Bedingfield
Age: 14-today
Context: timeless BANGER! (no other opinion accepted)
Claudio: "Hip Hop Remix" - Fabri Fibra, Mastafive
Age: yes
Context: Fabri Fibra tributes this song to music, telling how he discovered hip hop and how it changed his life. It is a nice throwback, during my high school years hip hop and rap music connected me with a lot of people as well, we used to meet up outside and listen to it together.
Kim: "The Look" - Metronomy
Age: 14-now
Context: I listened to Metronomy a lot, especially this song was everywhere I went for a few years. Then I forgot about them. Back this summer I was talking about music to my 8 years younger brother who 'recommended' Metronomy to me - and I immediately fell in love again.
İmre: "Ceviz Ağacı" - Cem Karaca
Age: 5 (Idk if it still counts)-now
Context: This song is an adaptation of Nazım Hikmet's poem with the same name. One of my favorite poets, good poem good song. Always loved it. One day when I was drunk with my father in a meyhane listening to and singing this song, I told him "I should have known it wouldn't have worked between me and (insert my first love's name), she didn't know of this song". It was right after the summer my parents got a divorce and I had my first major hearth break, it was a weirdly bonding experience. Me and my father was going through the loss of our first love at the same time.
İmre: "Nilüfer" - Müslüm Gürses
Age: 16-now
Context: Same as the song above, adaptation of a poem; this time the poet is Murathan Mungan, love it a lot. Also a song of "loss of love" both me and my father listened to.
Tessa: "Risibles Amours" - Nekfeu
Age: 15-now
Context: Nekfeu doesn't know this, but we will get married one day <3. This track from 2015 has a secret second track that is referenced in his last album (2019), and really ties up his whole creative and story-telling process. This song is about the different kind of love people experience through their life, and its title is a reference to Kundera's eponym book, who happens to be one of my favorite authors of all time. Perfect combo.EDIT: He has since been accused of sexual and domestic violence by his partner. I will personally stop listening and supporting his work, and this song will not be played during the show.
EDIT EDIT: This might be entirely false. The status of this song and its possibility to air is still on hold.
Charlie: "In the End" - Linkin Park
Age: 14-now
Context: ♡♡2000s♡♡Linkin Park♡♡Forever♡♡
Charlie: "Surrender" - Billy Talent
Age: 15-now
Context: Billy Talent is one of my all time favorite bands! Seen them twice, want to see them again. I caught a guitar pick during my first Billy Talent concert and then we camped outside to get autographs. I didn't have anything for them to write on so I just gave them my pink Eastpack backpack, which was already full of marker drawings and they autographed and drew on it! Good memories<3
Other
Lost Music | CDs
As part of the Lost Music Radio Show, our group collected all of the submitted songs into their respective playlists (Love, Shame, Guilt & Sorrow) and we burned them onto CDs! For each CD, we decorated an old salvaged CD-case with a self-made poster and lots of stickers, making each CD slightly different. Then, on the day of our broadcast, we surprised our classmates with them, and everyone was able to take one of he CDs home. ♡
Impressions
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Radio recording
Concept
For this show we wanted to make something that reflected on the previous week's event in some way, taking the principles of this trimester (collective performance especially) as a jumping off point. Sampling ourselves turned this show into a collage of sounds, events and impressions.
Roles
- Alexandria(producer) /Zuhui(interface)
- Wyn(host)
- Kim(host)
| Students | Roles |
|---|---|
| Alexandria | LiveSampler, LogReader |
| Kim | LiveSampler, PoetryReader |
| Wyn | VcvMixer |
| Zuhui | LogReader |
