![]() All major DSPs are providing amazing Lyrics experiences across their services, and Musixmatch content has become more and more high quality. But artists should know whose words are being put in their mouths-and that, should they wish, they have the right to opt out.Īsked if Musixmatch should allow users to flag indecipherable lyrics, Ciociola reasons, “We’re talking about a few cases out of millions of songs.” He adds, in a statement, that “artists, songwriters, and the whole creator ecosystem are finally considering Lyrics as an asset. Having sub-licensed the rights, Musixmatch is perfectly entitled to crowd-source transcriptions and sell them on. I think the problem, though, is not Musixmatch and its protocol so much as the service’s unilateral rollout, with quasi-official imprimatur, on platforms already under fire for flattening artistic identity and repackaging music as scaleable content. One thing that is clear about this willfully inscrutable music is that it transcends the scope of a service like Musixmatch as Cocteau Twins’ Simon Raymonde tweeted, “If we’d wanted our lyrics put up anywhere we would’ve done it 30 odd years ago.” The affair illustrates tech capitalism’s discombobulation when faced with a key element in art, which is the inexplicable. The streamers’ choice to publish the lyrics anyway was either a calculated risk or one deemed inconsequential. Ciociola contends streaming services knew that the My Bloody Valentine and Cocteau Twins lyrics had a low quality rating. ![]() AI weeds out suspicious content, including lyrics cut-and-pasted from other sites.Įach completed lyric that the system spits out comes with a quality score, which Musixmatch shares with streaming services. This central team, roughly 100 strong, is a mix of full-time employees and contractors. Up top are the in-house editors who assign songs, proofread lyrics, and take their best shot at quality assurance, ultimately bestowing lyrics with “verified by Musixmatch” status-one rung below artist verification. This “content supply chain” spans contributors in nearly 200 countries working in more than 90 languages. People do the work “because they are passionate about this space.” Still, curator roles do not constitute a job, the spokesperson stresses. ![]() Top contributors who pass an exam can attain “Curator” status-about 5,000 now operate on the platform-and conduct quality checks, receiving small payments in return. With a sleek, vibrant app, the platform gamifies the transcribe-and-tweak process with incentives like points and badges, which accrue when Musixmatch discerns an accurate contribution. Musixmatch built its empire by attracting enough members to harness a presumed wisdom of crowds its website advertises a community of 20 million volunteers, an eye-popping figure that Max Ciociola, the founder and CEO, affirms is correct. ![]() ![]() Unsurprisingly, neither My Bloody Valentine nor Cocteau Twins were among them, but Musixmatch says groups need only ask: After seeing My Bloody Valentine’s tweet, they contacted the band’s label and publishing company to authorize the lyrics’ wholesale removal, then carried it out in speedy fashion. More than 700,000 artists have signed up to its “Official Artist Verified Program,” which lets songwriters greenlight their own lyrics and prevent changes. Musixmatch’s approach to accuracy is hardly laissez-faire-that would make no business sense. ![]()
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Revo Uninstaller – innovative uninstall manager, that lets you uninstall, delete, remove programs and solve uninstalling problems. ![]() ![]() ![]() Vocally the clarion-voiced Eaglen is increasingly worthy of celebration, particularly in Gotterdammerung where with Nilsonesque assurance she commanded the stage from the moment of her entrance. Both General Director, Speight Jenkins and Wadsworth have expressed the opinion that the supposed “redemption through love theme” that closes Gotterdammerung is more a celebration of Brunnhilde. Faced with a brutish Hunding who makes a point of imposing his kisses on her in front of Siegmund, this Sieglinde sweeps the table clear of all its symbols of her imposed domesticity before running off to share a night of love with her brother.Īs the cycle progresses, British soprano, Jane Eaglen’s Brunnhilde emerges as a warm, loving Wonder Woman character. And certainly the two most likely candidates, Freia, (Maria Plette) the gentle goddess of youth and Sieglinde, the doomed twin (sung with warmth, power and beauty by an utterly secure Margaret Jane Wray) are both feisty, independent women. Wadsworth has said that he doesn’t want any of the women in the Ring to appear to be victims. When her wish for Siegmund’s death is granted, she is there on stage to witness his end. When the gods ascend into Valhalla, Fricka holds back anxious and unsure. A cynic could call this a West Coast “touchy feely” Ring but by showing a still-loving if disenchanted Fricka, Wadsworth gives this often shrewish character a pivotal role as the moral centre of the drama. ![]() At one point he courts her with a flower picked from Valhalla’s slopes. Wotan, Phillip Joll, and Fricka, the wonderful, opulent-voiced Stephanie Blythe, continue to embrace and show genuine affection as they sing through their conflicts in Walkure’s Act 2. The characters kiss and hug a lot in this Ring. Lynch’s beautiful naturalistic sets from those watery Rhine depths up to Brunnhilde’s rock and the frozen winter world of the Norns support Wadsworth’s strong dramatic reading. And even Siegfried, often a low point for any but the most dedicated Wagnerian, was the fastest-moving and most engaging that I’ve every experienced. The longeurs that this spectator has so often experienced in the first act of Gotterdammerung were absent. Stick with us, the whole Seattle team seems to be saying, with these gods and mortals and the nature that we now know so well and Wagner’s epic will flow as naturally as the Rhine itself. From the moment of the exquisitely realized Rhine Maidens entry on to the scene ( securely attached by harnesses and moved around on wires by hidden helpers in the flies, the fearless and excellent singers swoop and dive and turn several complete somersaults 20 feet above a stage of iridescent deep-water blue), Wadsworth draws us so deeply into the emotions and psychology of Wagner’s characters both divine and mortal that no additional theories need to be grafted on to this colossal work. #SEATTLE OPERA WAGNER FREE#His team of director Stephen Wadsworth, designer Tom Lynch and lighting director Peter Kaczorowski has given us a Ring that after years of Rings in space-ships, tunnels, Victorian drawing rooms is refreshingly free of any concept. ![]() Is it any wonder that the Seattle Opera has established itself as one of the leading proponents of Wagner’s Ring Cycle? When General Director Speight Jenkins was casting around for a director for this new Ring production seven years ago, he expressed a wish for a “green Ring” in a naturalistic setting that would correspond to the surrounding Pacific Northwest landscape. A hundred years ago the centre of the original city was much lower and parts of this underground world can still be visited beneath the hollow sidewalks of downtown’s Pioneer Square.ĭark forests, mountain summits, bears, gold, unwilling wives and a hidden underground world. For a while Seattle mined the gold miners selling them provisions before they set out on an invariably vain quest out into the unwelcoming forests where even today bears still roam and occasionally show up in suburban back gardens. In their wake, came women brought in to be married off, not always willingly, to these wild woodsmen. And then came word that gold was to be found in those same mountains and desperate men thronged to the town. Long before Boeing, long, long before Microsoft, the city of Seattle lived off lumber from the great forests that cover its nearby mountains. The Ring Cycle - Seattle Opera -13, 14, 16 and 18 August 2001: ![]() |
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