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	<title>TechCategory: Entertainment &#124; Tech &#124; TIME.com</title>
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		<title>TechCategory: Entertainment &#124; Tech &#124; TIME.com</title>
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		<title>Our Most Treasured Recordings Are Dying: Congress Has a Plan to Save Them</title>
		<link>http://techland.time.com/2013/02/15/our-most-treasured-recordings-are-dying-congress-has-a-plan-to-save-them/</link>
		<comments>http://techland.time.com/2013/02/15/our-most-treasured-recordings-are-dying-congress-has-a-plan-to-save-them/#comments</comments>
		<pubDate>Fri, 15 Feb 2013 19:43:18 +0000</pubDate>
		<dc:creator>Matt Peckham</dc:creator>
				<category><![CDATA[Entertainment]]></category>
		<category><![CDATA[library of congress]]></category>
		<category><![CDATA[preservation]]></category>
		<category><![CDATA[recordings]]></category>

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		<description><![CDATA[Some of our most cherished historical recordings are in danger of being lost forever &#8212; indeed, some by George Gershwin, Judy Garland and Frank Sinatra are already goners. But we live in the future, where technology can land a crazy-advanced robotics rover on Mars and put exabytes of information at our fingertips. Isn&#8217;t someone working to safeguard this stuff? It turns out they are: The Library of Congress unveiled a plan on Wednesday to preserve the country&#8217;s mammoth trove of recorded sound. It&#8217;s a huge deal if you care about this sort of thing, the culmination of sweeping research conducted over more than a decade. (MORE: Finally, a Trash Can on Wheels That Automatically Catches Your Trash) The National Recording Preservation Act of 2000 originally called on the Librarian of Congress to establish a National Recording Registry &#8220;for the purpose of maintaining and preserving sound recordings that are culturally, historically, or aesthetically significant.&#8221; The Library&#8217;s just-announced plan is the net result of what remains an ongoing effort, reflecting the cumulative work of both the Library and a range of audio professionals, from composers and musicians to musicologists, archivists and members of the recording industry. As early as 2002, the National Recording Preservation Board was nominating recordings for preservation annually &#8212; the total through 2012 stands at around 350. It&#8217;s an eclectic mix of recorded sound, ranging from seminal works by Thomas Edison in the late 1880s, Abbot and Costello&#8217;s famous &#8220;Who&#8217;s on First?&#8221; 1938 radio broadcast and Miles Davis&#8217; groundbreaking jazz album Kind of Blue to Martin Luther King, Jr.&#8217;s &#8220;I Have a Dream&#8221; speech, Glenn Gould&#8217;s original 1955 recording of Bach&#8217;s Goldberg Variations and Yahi language cylinder recordings by the last surviving member of the Native American Yana tribe (who died in 1916). What does the Library&#8217;s announcement mean in view of what it&#8217;s already been doing? It&#8217;s not enough to simply preserve these recordings, argues the Library in an elaborate 78-page overview of the plan. We have to think about public access, educating professionals about preservation rolling forward and dealing with &#8220;outdated laws that impede both preservation and<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=techland.time.com&#038;blog=5290478&#038;post=156692&#038;subd=timenerdworld&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<title>Nataly Dawn On Her New Album How I Knew Her and Why Kickstarter Fans Can Be Fickle</title>
		<link>http://techland.time.com/2013/02/12/nataly-dawn-on-her-new-album-how-i-knew-her-and-why-kickstarter-fans-can-be-fickle/</link>
		<comments>http://techland.time.com/2013/02/12/nataly-dawn-on-her-new-album-how-i-knew-her-and-why-kickstarter-fans-can-be-fickle/#comments</comments>
		<pubDate>Tue, 12 Feb 2013 13:00:26 +0000</pubDate>
		<dc:creator>Matt Peckham</dc:creator>
				<category><![CDATA[Entertainment]]></category>
		<category><![CDATA[TIME Interviews]]></category>
		<category><![CDATA[Kickstarter]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[nataly dawn]]></category>

		<guid isPermaLink="false">http://techland.time.com/?p=156424</guid>
		<description><![CDATA[Drop Nataly Dawn&#8217;s new album How I Knew Her into a search engine and you&#8217;ll turn up lots of talk about the singer-songwriter&#8217;s surprise turn from the whimsical covers of indie duo Pomplamoose (her YouTube-driven collaboration with musician and partner Jack Conte) to an eclectic folk rock-ish album of probing, poignant songs that chronicle, among other things, her struggles with faith and identity. But one of the most intriguing things about How I Knew Her is how it came to be in the first place: Back in July 2011, Dawn launched a Kickstarter project asking fans for $20,000 to fund an album of solo, non-Pomplamoose material. By the time funding closed in early September, she&#8217;d quintupled her target figure and raised an astonishing $104,788. The new album hits stories this Wednesday (it&#8217;s streaming live at Paste now), and it&#8217;s already drawing critical acclaim from places like Drowned in Sound (&#8220;&#8230;combines sweet and tender vocals with unbridled energy to create something genuinely infectious&#8221;) and The Boston Globe (&#8220;&#8230;has the nicely ramshackle clomp of a live band&#8221;). I caught up with Dawn last week to talk about her live studio experience, the album&#8217;s Kickstarter inception, how she still went into debt to make it and why she&#8217;s frustrated with musician Amanda Palmer&#8217;s Kickstarter critics. You just wrapped a national tour for the new album. How did it go? You were on the road with Ben Folds Five, and you opened for Clint Black at one point. Yeah, and actually I&#8217;ve heard several people be like, &#8220;Well I don&#8217;t really understand that bill, I don&#8217;t understand you really with Ben Folds or Clint Black.&#8221; But it makes so much sense, actually. The audiences in both scenarios were so receptive to my music and also really attentive to the lyrics. I think that&#8217;s the most important thing when choosing an audience &#8212; are you going to be dealing with people who care not just about what you&#8217;re playing, but what you&#8217;re saying. And if you have that, then chances are they&#8217;re actually going to listen to you<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=techland.time.com&#038;blog=5290478&#038;post=156424&#038;subd=timenerdworld&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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