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Featured Mixtape

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Snow Day

1 Your Hands Are Cold
2 Winter Must Be Very Cold
3 Winter Vacation
4 Heart of Snow
5 Cold White Christmas
6 I'm The Only Gay Eskimo
7 Spider in the Snow
8 The Winter Is Coming
9 White Winter Hymnal
10 Don't Eat The Yellow Snow
11 Cold Night
12 Snow
13 Cold Feet
14 I Want To Be Cold
15 Cold War (Nice Clean Fight)
16 Cold Mountain
17 Third Snow Song
18 Winter Winds
19 When Snow Starts to Fall
20 Hey Snow White
21 Winterlong
22 Snow Days
23 Rain and Snow
24 Winter Windows
25 The Snow Leopard
26 Cold Son
27 Snowball in Hell
28 Cold Cold Ground
29 Talking with Fireworks/Here, It Never Snowed
30 Island, IS
31 While I Shovel The Snow
32 Snowman
33 Winter Kills
34 Snow Miser, Heat Miser

Featured Article

picture for article On Holding Hands at Shows: Girls at Bimbo's in SF

On Holding Hands at Shows: Girls at Bimbo's in SF

Because the personal narrative at the heart of most Girls songs is so twisted and inaccessible -- Owens grew up in a cult and escaped into drugs and punk rock as a teenager -- it's amazing that this music is so perfect for hand-holding. Christopher Owens is no James Taylor, of course, but there's no denying the easygoing, almost romantic side of his oeuvre.

-- Ryan Mixtape

picture for article Pitchfork: Brand vs. Band

Pitchfork: Brand vs. Band

That's why this year's plan is both risky and exciting from a business perspective. All other things held constant, Pitchfork could easily raise prices, since it has clearly been selling at a price lower than the point at which the demand and supply curves meet. However, unlike Coachella and Bonnaroo, which rely primarily on their lineups and pricing to drive brand value, the Pitchfork Music Festival's brand also gains tremendous value from Pitchfork's core offerings. So the levers it can pull are more varied. Essentially, Pitchfork has the unique privilege of choosing to hold price, but nothing else, constant.

-- Ryan Mixtape

picture for article The Creators Project in San Francisco, March 17

The Creators Project in San Francisco, March 17

A really interesting effect of the Creators Project format is that the broad focus on technology and art (the music pavilion accounted for only about 25 percent of the event's total footprint) freed the musicians to focus on performance rather than spectacle. After all, it’s nearly impossible to compete with the building-size interactive light-and-sound rendering of Origin by United Visual Artists. The Creators Project will hopefully continue to add smaller cities like San Francisco to its world tour of art, technology and innovation.

-- Ryan Mixtape