A 33-year-old woman died, two people were hospitalized in critical condition, and seven others sought medical treatment for non-life-threatening injuries after a crowd stampede at a GloRilla concert in Rochester, New York on Sunday. The incident occurred at around 11:00 p.m. local time at the Main Street Armory. The police reports that concertgoers began to panic after believing they had heard gun shots. However, investigating officers “found no evidence to support a shooting having occurred.” UPDATE: Aisha Stephens, 35, of Syracuse, has died after being hospitalised following the incident at the concert in Rochester, New York. Two other women, Rhondesia Belton, 33, and Brandy Miller, 35, died in hospital after being injured.

An interesting story in the Tracklib about members of a Discord community by the name of Sample Hunting, who have developed a new model of sample discovery, even the shortest samples. The new method includes Google Assistant which can even detect samples less than a second long, and is usually able to detect samples that have been chopped or time-stretched. Tracklib is a crate-digging platform to sample and clear original music.

lovely story in Pitchfork about Elliott Smith's teenage band Stranger Than Fiction of which the musician was kinda embarrassed. The band released six albums of guitar-based music in the 1980s, with Smith refusing to talk about later on. The P, next to the story of collecting the rare recordings, insists it's not that bad at all. "Once you make it past the surface-level impression—awkward kids making awkward stabs at rock music—these six records upend pretty much every received notion about who Smith was, what motivated him, and how he worked. Above all, craft mattered deeply to him, even at low points when it seemed that very little else did. These tapes bring that quality to the fore, presenting Elliott Smith the tinkerer, the woodshedder, the perfectionist."

Jazz saxophonist Wayne Shorter, one of the most distinctive voices of his generation as a soloist, composer and bandleader, has died in Los Angeles at the age of 89. The 12-time Grammy award winner was a well-known figure on the jazz circuit since the late 1950s, playing alongside several greats, including Miles Davis, Carlos Santana, and Herbie Hancock, as well as in the jazz supergroup Weather Report, helping shape much of 20th Century jazz music. Jazz explorer Ted Gioia surveys Shorter's "remarkable compositions from the 1960s" - here.

Steve Mackey, a prominent producer and the longtime bassist for Pulp, has died. On Twitter today, Pulp announced that Mackey “passed away this morning.” No cause of death has yet been reported. Mackey was 56.

On Wednesday (March 1) the US House Foreign Affairs Committee voted to advance a bill that would effectively give President Joe Biden powers to ban TikTok in the US. The bill, known as the ‘Deterring America’s Technological Adversaries Act’, would also allow for the control of other China-related economic activity, if signed into law. The passage of the bill comes just days after The White House’s Office of Management and Budget issued a 30-day deadline for the app to be deleted from Federal employees devices due to national security concerns. On Monday (February 27), Canada also announced the banning of TikTok from all government-issued devices. Last week, The European Commission, the European Union’s executive arm, also banned its staff from using the ByteDance-owned video app on their work phones over cyber security concerns. The European Parliament also banned its staff from using TikTok this week.

Pianist Vijay Iyer, bassist and synth player Shahzad Ismaily, and vocalist Arooj Aftab have related their first collaborative track - beautiful 'To Remain/To Return' from their debut 'Love In Exile', recorded live in the studio with minimal edits. The song, as well as the collaborators' feelings about their album are quite promising. “Making music with Arooj and Shahzad is nothing less than an out-of-body experience. I’m weirdly in awe of our unhurried, mysterious creations; they seem to arrive fully formed from somewhere else" - Iyer says. "This piece holds, at its core, the delicately unfolding emotion of separation anxiety induced fury (see: love, self exile) between two people who are deeply connected. One is leaving and the other is asking them to stay. The former is saying ‘I will leave but I will also return’; in better form for the both of us” - Aftab says about the song. Ismaily adds, "We all provide the best we can. In my case it's euclidean rhythms, crystals to hold the oceanic beauty of Vijay's keys and the silent raven of Arooj's voice. We grow to the company that we keep; I am both fortunate and grateful".

"With the influx of cash that’s led to a music catalog buying spree over the past few years, where does all of this money come from?" - The Bag looks at the other side of the headline. Musicians have become much richer in the past five years since Hipgnosis kicked off this catalog boom. The biggest financiers:

Blackrock, who invested hundreds of millions of dollars via Influence Media Partners,

Litmus Music launched with $500 Million in funding from Carlyle Global Credit

Hipgnosis Song Management raised $1 Billion from Blackstone

"If the courts decide that not enough human input goes into an AI-generated work, then that work cannot be protected by copyright, and then the work will fall into the public domain, meaning that creators would lose their IP protections" - the law expert Barry Scannell points out for the MBW. Last week exactly that happened - "the US Copyright Office (USCO) refused to grant a copyright registration to AI images in Kristina Kashtanova’s Zarya of the Dawn comic (the Work), which used Midjourney generative AI art... This decision potentially has major implications for US creative industries, from music to art to gaming, as it calls into question whether works which utilise (even in part) AI technology can be protected by copyright."

A great read in Vice about the "shady, high-paying private gig industry", which has almost all the biggest pop and rock stars on one side, and just about anybody who has enough money to pay them, on the other side. As Vice puts it, it comes down to this: "With unimaginable amounts of money at the disposal of central governments and lucrative corporations, stars with relatively clean PR images are being tempted to get a slice of the action"