A Quote by Mick Hucknall
In January 1999, I proposed an initiative to the Music Industry Forum which I called Communities In Tune. Its aim was to bring community centres to the Internet generation.
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Every community is an association of some kind and every community is established with a view to some good; for everyone always acts in order to obtain that which they think good. But, if all communities aim at some good, the state or political community, which is the highest of all, and which embraces all the rest, aims at good in a greater degree than any other, and at the highest good.
I've been a bit of an electronics enthusiast and maker for a long time. I actually started the forum called ModRetro. It's an electronics enthusiast community that focuses on modifying vintage game consoles, and it's actually one of the larger game console modification forums on the Internet.
From 1999 through 2001, I was an editor at a now-defunct magazine about the media industry called 'Brill's Content' that eventually merged with a now-defunct website about the media industry called Inside.com.
The Catholic community, with many others, has long worked for this new commitment on global health and debt relief (President George W. Bushs proposed $15 billion Global AIDS initiative). I hope that Congress will now appropriate the money needed to make this legislation a reality, and that the U.S. government will press for strengthening the debt relief program along the lines proposed by this legislation.
Once we revolutionize the music industry, then we can revolutionize our communities and everything in the world, 'cause what happens is, the communities are listening to the music.
The aim proposed here for any organization is for everybody to gain - stockholders, employees, suppliers, customers, community, the environment - over the long term.
AIM was so quaint, it organized users around 'buddy lists.' In a time before smartphones, AIM was powerful and intoxicating, a way for a generation that once had called people on the phone to communicate in quick bursts from their computers.
I've been through the music industry and with the Internet the music industry is not what it used to be.
Just like the Internet has transformed the media industry or the e-commerce industry, the software industry is also being affected dramatically by the Internet.
For nearly five years, I worked with Marquette University Law School and helped to administrate a community crime prevention initiative called Safe Streets. We used restorative justice practices to help reduce crime and violence in the Milwaukee community.
I've been writing a book called The Economics of Innocent Fraud. I published part of it already in The Progressive ("Free Market Fraud," January 1999). But I've been interrupted these last few months. It deals with all of the things we do, in an innocent way, to cover up the truth.
The Internet has essentially democratized the music industry in terms of what is popular and it's democratized the music journalism industry as well.
There will always be music on the Internet that people can steal. What's new is not theft. What's new is a distribution channel for stolen property called the Internet. So there will always be illegal music on the Internet.
I go into military communities and do fundraisers and that kind of thing with the band, because I know that the music can help do a lot of things. It can bring communities together, it can raise awareness... and it entertains.
High-speed Internet access won't stop future superstorms and it won't solve all the unfairness that low-income New Yorkers face. But with strong alliances between community members, local nonprofits, businesses and technology experts, it will bring affordable, local innovation that helps us build stronger, fairer and more resilient communities.
We think it's a blessing that we were able to bring our music to the world. That our music has not only inspired our communities but other communities. That's one of the greatest things an artist in any field could know: that you've touched the mind of another artist.
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