Archive for the ‘Music News’ Category

Neil Young Doing The Gulf Coast a Fundraising Service

Sunday, August 15th, 2010

August 12th, 2010 at 1:05 PM

Neil Young to Tour Gulf Coast

neilyoung

Neil Young will be touring the Gulf Coast this September in an effort to aid those affected by the BP oil spill. He will be performing four concerts in the region and has asked that concert goers bring non-perishable food items to the shows. Those items will be donated to the Bay Area Food Bank, which serves communities in Alabama, Florida and Mississippi. Young has also enlisted the help of Tyson Foods, who will be donating 100,000 pounds of chicken—the equivalent of 400,000 meals—to the food bank. Additionally, all profits from the sale of limited-edition t-shirts, available only at the concerts, will go to the food bank. Young also hopes that the concerts will help bring funds to businesses in the area affected by the BP oil spill. “Millions of people who live along the Gulf Coast struggle with hunger and the economic impact of the oil spill has only made matters worse,” Young said in a recent press release. Dates for the concerts are below.

9/20 – Panama City, FL – Marina Civic Center
9/25 – Biloxi, MS – IP Showroom
9/26 – Mobile, AL – Saenger Theatre
9/28 – Pensacola, FL – Saenger Theatre

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Clear Channel’s Free Apps Are A Money-Maker Re-post

Thursday, August 12th, 2010

Source: Paid content

Among the eight million people who have downloaded Clear Channel’s free mobile applications, the average user spends 3.5 hours listening to the streaming radio service and visits an average of four stations a week. All of that adds up to profitability for the media conglomerate’s mobile business, demonstrating that for at least some, the medium has started to push past the experimental phase.

Evan Harrison, Clear Channel Radio’s EVP and President of the company’s digital unit, said the applications generate revenues in two major ways. The apps, available on iPhone, Android and BlackBerry, increase a radio station’s overall audience (by an average of 15 percent when combining both apps and online), and the apps create additional opportunities for ads.

Less substantial are affiliate fees that are generated when a user buys a song or album through the V Cast app store on Verizon Wireless, or through Apple’s iTunes.

Not only is mobile reusing content from 750 of the company’s terrestrial stations, there’s made-for-mobile programming, too. The apps feature a number of celebrity stations, including radio shows hosted by the Eagles and Maroon 5. The app is also currently featuring an exclusive music video Clear Channel (OTCBB: CCMO) created for Alex Lambert, who was voted off American Idol, and subsequently added to the “Dream” house reality show.

The ads don’t appear in the app until a user selects a station. Then, the ad takes over the whole screen. Harrison says users either have the option to click-through or dismiss it. The ads are returning a roughly 3 to 4 percent click-through rate, he added. In the next iPhone version to be released, the application will feature ads from Apple’s own iAd network, which are touted as being engaging and returning good results. Of course, the content also features the typical audio ads you’d hear over the radio.

Apple Loses Big in DRM Ruling: Jailbreaks are “Fair Use” Re-post

Thursday, August 12th, 2010

Apple loses big in DRM ruling: jailbreaks are “fair use”

 

Every three years, the Library of Congress has the thankless task of listening to people complain about the Digital Millennium Copyright Act. The DMCA forbade most attempts to bypass the digital locks on things like DVDs, music, and computer software, but it also gave the Library the ability to wave its magical copyright wand and make certain DRM cracks legal for three years at a time.

This time, the Library went (comparatively) nuts, allowing widespread bypassing of the CSS encryption on DVDs, declaring iPhone jailbreaking to be “fair use,” and letting consumers crack their legally purchased e-books in order to have them read aloud by computers.

The exemptions

The DMCA was passed in 1998, so this is the fourth go-round for the Library. In the past, people have usually complained that DRM prevented them from making legitimate use of items like DVDs—format-shifting a copy to one’s iPod, for instance, was forbidden. The Register of Copyrights (who is part of the Library of Congress) dutifully listened to these complaints and then did… very little. Previous exemptions could charitably be described as “parsimonious.” After all, if you need a two-minute clip of a film, you could always get it from a VHS tape or by taping a TV screen. Right?

The Librarian and the Register, cautious folks that they are, have moved slowly, but after more than a decade of the DMCA, they are increasingly willing to acknowledge its harms. That lead to this morning’s ruling, which provides DRM circumvention exemptions for the following six classes of works:

(1) Motion pictures on DVDs that are lawfully made and acquired and that are protected by the Content Scrambling System when circumvention is accomplished solely in order to accomplish the incorporation of short portions of motion pictures into new works for the purpose of criticism or comment, and where the person engaging in circumvention believes and has reasonable grounds for believing that circumvention is necessary to fulfill the purpose of the use in the following instances:

(i) Educational uses by college and university professors and by college and university film and media studies students; (ii) Documentary filmmaking; (iii) Noncommercial videos.

(2) Computer programs that enable wireless telephone handsets to execute software applications, where circumvention is accomplished for the sole purpose of enabling interoperability of such applications, when they have been lawfully obtained, with computer programs on the telephone handset.

(3) Computer programs, in the form of firmware or software, that enable used wireless telephone handsets to connect to a wireless telecommunications network, when circumvention is initiated by the owner of the copy of the computer program solely in order to connect to a wireless telecommunications network and access to the network is authorized by the operator of the network.

(4) Video games accessible on personal computers and protected by technological protection measures that control access to lawfully obtained works, when circumvention is accomplished solely for the purpose of good faith testing for, investigating, or correcting security flaws or vulnerabilities, if:

(i) The information derived from the security testing is used primarily to promote the security of the owner or operator of a computer, computer system, or computer network; and (ii) The information derived from the security testing is used or maintained in a manner that does not facilitate copyright infringement or a violation of applicable law.

(5) Computer programs protected by dongles that prevent access due to malfunction or damage and which are obsolete. A dongle shall be considered obsolete if it is no longer manufactured or if a replacement or repair is no longer reasonably available in the commercial marketplace; and

(6) Literary works distributed in ebook format when all existing ebook editions of the work (including digital text editions made available by authorized entities) contain access controls that prevent the enabling either of the book’s read-aloud function or of screen readers that render the text into a specialized format.

The language here can be opaque, so let’s parse these a bit.

DVDs

First up: DVDs! Previous exemptions have been carved out for college professors who might use film clips in class. But note the broad nature of the new rule—it applies to everyone. As long as you are making a documentary or noncommercial video, you’re in.

The exemption only covers “short portions of motion pictures,” since the Register was not convinced that longer portions would necessarily be fair use. And if there’s some other way of getting the clips short of bypassing DRM, you should take it.

According to the official explanatory text (PDF), “Where alternatives to circumvention can be used to achieve the noninfringing purpose, such noncircumventing alternatives should be used.” Thus, if you have screen capture software and need only a low-quality copy for some purpose, you should use that.

But the exemption is a key one, despite its limiting language. As the Librarian of Congress finally admitted, “I agree with the Register that the record demonstrates that it is sometimes necessary to circumvent access controls on DVDs in order to make these kinds of fair uses of short portions of motion pictures.”

Jailbreaking

The most surprising ruling was on “jailbreaking” one’s phone (exemption number two), replacing the company-provided operating system with a hacked version that has fewer limitations. Make no mistake: this was all about Apple. And Apple lost.

The Electronic Frontier Foundation argued that jailbreaking one’s iPhone should be allowed, even though it required one to bypass some DRM and then to reuse a small bit of Apple’s copyright firmware code. Apple showed up at the hearings to say, in numerous ways, that the idea was terrible, ridiculous, and illegal. In large part, that was because the limit on jailbreaking was needed to preserve Apple’s controlled ecosystem, which the company said was of great value to consumers.

That might be true, the Register agreed, but what did it have to do with copyright?

“Apple is not concerned that the practice of jailbreaking will displace sales of its firmware or of iPhones,” wrote the Register, explaining her thinking by running through the “four factors” of the fair use test. “Indeed, since one cannot engage in that practice unless one has acquired an iPhone, it would be difficult to make that argument. Rather, the harm that Apple fears is harm to its reputation. Apple is concerned that jailbreaking will breach the integrity of the iPhone’s ecosystem. The Register concludes that such alleged adverse effects are not in the nature of the harm that the fourth fair use factor is intended to address.”

And the Register concluded that a jailbroken phone used “fewer than 50 bytes of code out of more than 8 million bytes, or approximately 1/160,000 of the copyrighted work as a whole. Where the alleged infringement consists of the making of an unauthorized derivative work, and the only modifications are so de minimis, the fact that iPhone users are using almost the entire iPhone firmware for the purpose for which it was provided to them by Apple undermines the significance” of Apple’s argument.

The conclusion is sure to irritate Steve Jobs: “On balance, the Register concludes that when one jailbreaks a smartphone in order to make the operating system on that phone interoperable with an independently created application that has not been approved by the maker of the smartphone or the maker of its operating system, the modifications that are made purely for the purpose of such interoperability are fair uses.”

SecuROM and SafeDisc

Exemption four is quite clear—security research on DRM-limited video games is allowed—but why is it there? What research needs to be done?

It turns out that the real target here is the DRM itself, specifically two controversial systems called SecuROM and SafeDisc. Professor Alex Halderman, a longtime security researcher in this area, begged the Library to let him investigate these kinds of invasive DRM without legal worries.

“The evidence relating to SecuROM tends to be highly speculative,” said the Register, explaining her approval of the exemption, “but Professor Halderman asserted that this situation has been crying out for an investigation by reputable security researchers in order to rigorously determine the nature of the problem that this system cause[s], and dispel this uncertainty about exactly what’s going on. He believed that the prohibition on circumvention is at least in part to blame for the lack of rigorous, independent analysis.”

But the SafeDisc situation is clearer. “In contrast to SecuROM, SafeDisc has created a verifiable security vulnerability on a large number of computers. Opponents of the proposed class did not dispute that SafeDisc created a security vulnerability, but they argued that the security flaw was patched by Microsoft in 2007, without the need of an exemption. However, SafeDisc was preloaded on nearly every copy of Microsoft’s Windows XP and Windows 2003 operating systems and was on the market for over six years before a security researcher discovered malware exploiting the security. The vulnerability had the capacity to affect nearly one billion PCs.”

Given what’s at stake, the Library decided to allow such security research.

E-books

Remember how Amazon got into trouble with publishers for allowing its Kindle to do automated text-to-speech? Publishers objected that this could cut into their audiobook money and that it might violate their rights.

Amazon may have clamped down on the feature in response, but the Library of Congress has now given users the right to crack e-book DRM in order to hear the words. Exemption number six only applies in cases where there is no alternative; if e-book vendors offer any sort of version that allows screen-reading or text-to-speech, even if the price is significantly higher, people must use that version rather than bypass DRM.

But if there are no commercial alternatives, e-book buyers are at last legally allowed to bypass DRM.

The clock is ticking

Other, broader exemptions were not allowed. Bypassing the DRM on purchased music when the authentication servers have gone dark? Still illegal. Bypassing the DRM on streaming video in order to watch it on non-supported platforms? Nope.

But the exemptions that did make it were carefully thought out and actually helpful this time around. That’s the good news. The bad news is that they must be re-argued every three years, and the Library has taken so long getting its most recent ruling out that that the next review happens just two years from now.

So enjoy your exemptions while you can.

 

Source: Arstechnica

What Is An Indie Artist? Re-post

Thursday, August 12th, 2010

So, Does “Indie” Really Mean Anything Anymore?

 Author Info 

Monday, July 26, 2010


“Indie cred” used to stand for something.  It meant selling 7-inches at local record stores, not paying radio stations for spins, and not watering things down for mainstream acceptance.  But these days, everyone has direct access to the fan, major labels are weaker than ever, and traditional endpoints like terrestrial radio are losing influence.

Meanwhile, the worlds of indie and major seem increasingly blurred.  So-called indie bands are often upstreamed into the major label world (for example, Interpol onto Capitol), and so-called “indie distributors” like RED are often owned by majors (in this case, Sony Music Entertainment).  

So, what does “indie” really mean anymore?  And, is it dead?  That was the smart question asked by Paste writer Nick Purdy, who chatted with A2IM chief Rich Bengloff on the matter.  Bengloff pointed to continued access issues involving traditional brick-n-mortar retailers and radio stations, offering a reminder that old-school formats still wield considerable influence.  But Bengloff is stumping for many of the same issues as the RIAA, including anti-piracy objectives (A2IM supports ‘graduated response’); demands for recording royalties from terrestrial radio plays, and even DMCA-related concerns (A2IM is working to appeal the outcome of Veoh v. UMG).

So what is the difference then?  In the digital sphere, Bengloff also pointed to issues getting exposure on platforms like the iTunes Store.  But anyone can upload and chart on iTunes these days, and an artist website is a dedicated showcase and retailer unto itself.  In that light, is the term “indie” just another relic of a not-too-distant past?  It’s a question worth asking…

 

To read comments:

Source: digital music news



 

Compensate Artist for Filesharing Losses Re-post

Thursday, August 12th, 2010

Music group wants to compensate artists for filesharing losses

No mention of compensation for our earsWed Jul 14 2010, 15:10

THE UK’S royalty collecting body the Performing Rights Society for Music (PRS) has released a paper that it reckons will both boost digital Britain and empower music creators, not to mention line the pockets of its membership.

 

The brainstrust at the PRS thinks that if anyone will get hurt by the Digital Economy Act it will be the music artists that it represents. As opposed, we presume, to those ordinary people who have been or will be sent threatening letters from lawyers with no case, or the Internet service providers that will have to pick up the DEA dogmess left at their feet by Parliament.

 

PRS has ‘launched’ - we’d prefer to call it ‘chucked’ - a paper that argues for ensuring that its members in the music extortion cartel industry are properly compensated for illegal filesharing.

 

Presumably not happy with its own use of the word ‘launch’, the PRS settled down a bit and decided that it was only ‘circulating’ its discussion paper “Moving Digital Britain Forward Without Leaving Creative Britain Behind’ to artists and rightsholders.

 

Lucky recipients that find the paper dropped onto their mirrored desk will be treated to the news that the PRS, whose job it is to get money for artists, thinks that artists should be getting more money.

 

“PRS for Music offer all stakeholders in the content and connectivityindustries a new solution to the perennial problem of media piracy by introducing incentives, through compensation, that can benefit both content and connectivity industries”, the organisation said in a statement.

 

The group believes that once the scale of so-called ‘piracy’ is measured, thanks to the magical DEA, it can be priced. At its heart is the idea that ISPs pay some sort of fee for the amount of ‘piracy’ - by which we think it really means copyright infringement rather than robbery, murder and rapine in the high seas - that happens through their doors. Something that is sure to find favour amongst Internet service providers that until now probably had never realised that they were responsible for keeping George Micheal in cars and Elton John in hairpieces.

 

Will Page, chief economist at PRS for Music and author of the paper hummed, “What co-author David Touve and I have been working on developing are market-based solutions to the harm caused by illegal file sharing over the Internet. More importantly, we explore what legal options exist for recovering the value of that harm, and offer an economic framework that can be considered when structuring a resolution”.

Groovy. µ

 

Source:The Inquirer

Google Changes Tempo of Music Approach - Re-post

Thursday, August 12th, 2010

by Greg Sandoval

Source: CNN
LOS ANGELES–Here at the epicenter of the entertainment sector, two news reports about Google’s digital music plans have the music sector buzzing.


Elizabeth Moody, a well-respected attorney who has negotiated numerous licensing on behalf of Web music services, has joined the search engine, TechCrunch reported on Friday. Another story that appeared Monday in the New York Post says Google is in New York trying to rush a licensing deal through with the Harry Fox Agency.



Harry Fox licenses mechanical and digital rights for thousands of publishers. Last month, CNET reported that Google could launch a music service this fall. Google declined to comment for this story.



Launching a music service would be simple if all Google intended to do was offer digital downloads or a subscription service. But Google has more ambitious plans to strike an unprecedented cloud-music licensing deal with the four major record companies, music industry sources told CNET. That is why music industry insiders believe Google went outside for legal help.



The cloud is supposed to represent the next step in the evolution of digital media services. Apple and Google have both discussed building cloud services for both film and music, according to numerous sources at the major movie studios and record labels. Each company has discussed hosting their users’ media on their servers. Users could then access their movies, music, and e-books from Web-connected devices. At this point, Google appears further along in launching a cloud service than Apple, sources said.



To reach an agreement on cloud music will not be easy. The labels have yet to license music rights for the kind of offerings that Google and Apple are said to be working on. “There’s no template,” said one music source. “They’re going to be starting from scratch and that’s not easy.” What that means is that if negotiations go poorly, they could conceivably delay the launch offering until next year.
But Moody could help speed things up.



She has worked for years with tech-music guru Fred Davis at the firm of Davis Shapiro, Lewit & Hayes, a firm that has represented such services as Spotify, MySpace Music, iMeem, MOG, iLike, Bebo and Playlist, according to TechCrunch. Moody knows all the major players at the big record companies and is well respected, sources said.



Coming up with a cloud deal won’t be Moody’s only chore at Google. Some of YouTube’s licensing deals that enable users to incorporate songs from the major labels into their videos are coming up for renewal.


Artists Find Ways To Monetize Music - Re-post

Thursday, August 12th, 2010

Amid sales slump, artists find ‘more ways to monetize music’
Album sales continue to slide, and once-booming digital sales are flat, but there are bright footnotes in the recording industry’s gloomy 2010 midyear sales summary.

Consumers bought 148.4 million albums (both physical product and downloadable delivery) through June 27, down 11% from the 166 million sold to this point a year ago, according to Nielsen SoundScan.


Digital sales, on a steady growth streak since 2004, have hit a plateau. Sales stand at 576 million this year, roughly equal to 2009’s midway total of 575.7 million. At this point in 2009, tracks were 6% ahead of 2008.
In 2001, the first year of declining sales in the piracy era, fans scooped up 331.4 million albums by the end of June, 123% more than the equivalent period this year.The asterisk?


“With so many different options in terms of how consumers obtain and experience music, albums aren’t the only game in town anymore,” says Keith Caulfield, Billboard chart analyst. “Because the album was the dominant format for decades, people became accustomed to quoting album sales as an indicator of how well the music industry was faring.


“Now there are multiple ways of measuring music’s popularity and sales. It’s hard to keep tabs on how much money Lady Gaga is earning from having her songs in Glee. There are so many more ways to monetize music. Albums don’t tell the whole story.”

Flattening digital sales might be explained by dwindling new adopters and a widening mobile-device landscape.


“In digital, iTunes is king, and nobody’s talking about a new iPod,” Caulfield says. “Apple’s expanded to iPhones, iTouches and iPads, and music is a slice of a larger picture.”A few blockbusters are bucking the trend of lower sales and expectations. Lady Antebellum’s Need You Nowleads the album pack this year with 2.3 million copies sold in 22 weeks. Its secret? Broad appeal.


The title track is “a perfect single, at that place where pop, country and adult contemporary meet,” says veteran pop-music analyst Paul Grein, who writes the Chart Watch blog for Yahoo. “It will be the record to beat at the Grammy Awards.”


Justin Bieber’s My World 2.0 is second, trailed by Sade’s Soldier of Love and Lady Gaga’s The FameEminem’sRecovery, which sold 741,000 copies its first week, will move into fifth place with second-week sales projected to push his total past 1 million.


Eminem had “the strongest first-week showing in 20 months,” Grein says. “I was starting to think we wouldn’t see those kind of numbers again. And in just three weeks (of sales), Drake will be over 700,000 and rank No. 10 for the year. Those are encouraging numbers.”

Hip-hop also plays a leading role in several of the year’s biggest-selling songs. Of the top 20, 11 are collaborations, most with rappers, “which shows how ingrained that sound has become in popular music,” Grein says.B.o.B’s Nothin’ On You featuring Bruno Mars or Bieber’s Baby featuring Ludacris “would not have been as successful without the rap element. Hip-hop gave them an edge in the current market. Even Katy Perry’sCalifornia Gurls works better with Snoop Dogg’s rap.”


Top songs so far, in descending order: Train’s Hey, Soul SisterBlack Eyed Peas‘ Imma Be, Lady Antebellum’sNeed You Now, Ke$ha’s TiK ToK and Usher’s OMG.
Pop’s dominance in the top five “make sense, since young fans are the ones buying songs,” Grein says.

Source: USA Today

CREATIVITY - A Bob Leefsetz letter re: Music Business

Monday, August 9th, 2010

From a Bob Lefsetz letter:

There's a fascinating and quite boring article in the latest issue of "Newsweek" about the creativity gap, how creativity is declining in America. Reading it I couldn't stop thinking about the music business. 

Ahmet Ertegun wrote songs. Sure, he liked getting paid, but getting rich was not his primary motive for getting into the business, it was his love of music. And he wasn't wealthy enough to be able to go it alone, he enlisted the bank account of his dentist. 

Contrast that with the executives of today. Who got into music because of the money. Or the flash. That creative spark of Ahmet, the ability to put multiple elements together to create something infectious, that's absent in today's conference room. I'll even give Clive Davis credit, although I felt his mainstream, formula concoctions squeezed out vitality, there was a creative process at work, based on the music more than the marketing. 

Today's labels are all about the deal. And we all know, they came to innovative online marketing last. It's no wonder that the labels were trumped by MTV three decades ago...they couldn't SEE the power of music on television! 

But it's even worse in the sphere of concert promotion. Promoters have traditionally been businessmen, pure and simple. Buying a product and selling it. Sure, Bill Graham added more, but isn't it fascinating that he had a background in theatre! 

In other words, maybe Michael Rapino can't save Live Nation because he can't come up with enough breakthrough creative concepts. As for Randy Phillips and AEG, how difficult is it to scoop the cream off the top? The real skill is building from the bottom, taking something outside and making it mainstream. But the music business squeezed the innovators out. Every young kid with an idea was fired, if he even got a job to begin with, and went into tech, and sure, many of those ideas failed, like stiff albums, but we ended up with Facebook and iPhone apps and so many cool gadgets and software. Whereas in music we've got nothing new, just endless riffs on what came before. 

Even the artists. We didn't nurture creativity, we were only interested in good-looking automatons we could tell what to do. So, when you finally got them in an interview, they spoke about clothes and thanked their sponsors. Go off script and you get punished. But weren't we always drawn to those who went off script? 

In other words, businessmen squeezed all the creativity out in the name of profits. And now the business is in the hands of the concert promoters, who were always the least creative element in the chain. The label built the stars, the concert promoter sold them. Now the promoter must build the star, but he doesn't know how. As for fixing his own business, he's flummoxed. He thinks if he just lowers the price, somehow people will magically appear. 

But they don't. 

We're drawn to cool. To the wow factor. And sure, these can occasionally be manufactured, but less in music and more in movies. Music's appeal is its authenticity. Eliminate that, and you've got product. But people will only overpay to go to a crowded, overheated auditorium if the act has that something extra, that je ne sais quois. Wasn't that Bowie's appeal? He was just one step beyond. In both music and staging. 

No band-aid is going to fix the music business. The solution will come from innovative ideas, implemented by those with creative risk ingrained in their DNA.  

In other words, the music business can't be fixed by the usual suspects, those presently in charge, because they just don't have it in them, they lack creativity. John Sculley could steer Apple, make the books balance, but only Steve Jobs could come up with the products people salivated over, that throngs clamored to buy. Only musicians more familiar with studios than hairstylists can create the underlying product. Sure, an executive can delineate market realities, but as soon as the executive starts changing the music, that's where trouble begins. Hits exist in their own rarefied air. The audience comes to them. Hiring Dr. Luke to create a me-too concoction that runs up the chart and is quickly forgotten is what's killing the business, not what's keeping it alive. The bands in Brooklyn may be too out there to ever break through, but they've got the right idea, throw out the conventions, start over with a clean slate, focus on music and fun, then the money might follow. 

http://www.newsweek.com/2010/07/10/the-creativity-crisis.html
AS A TAG LINE = SONGS2SHARE IS DOING SOMETHING VERY CREATIVE & WE HELP EVERY LAYER OF SONGWRITER MAKE GREAT SONG MATERIAL. 
 

Free Bass Clinic in Chicago July 17, 2010

Thursday, July 15th, 2010

Bryan …

7/13/2010 1:18 AM

From: Bryan Beller <myspace.com/bryanbeller>
To: Songs2Share

 

Hey Songs2Share-
All y’all in Milwaukee & Chicago, I keep coming back up there. I must like it or something!
I just wanted to send you a quick personal invitation to two events I have coming up in the area.

On Friday night, I’ll be doing a duo show with my lovely R&B singer/songwriter/keyboardist wife, Kira Small.

Then on Saturday at 1:30pm, I’m doing a clinic at CPE Sound in Chicago, which is a really cool rehearsal/studio facility. Check it out:

Friday, July 16
with Kira Small
at Mercy Hill Gallery
2625 S. Greely Street
Milwaukee, WI 53207
Admission: $10
Set time 7:30

Saturday, July 17
Beller Bass Clinic
at CPE Sound
345 N. Loomis
Chicago, IL 60607
(312) 656-9558
Free admission!
Start time: 1:30pm

This event is sponsored by Mike Lull Custom Basses and D’addario Strings
Hope you can make it to either one. I’ll be there either way. :-)
Best wishes to all,
Bryan Beller

Read more: http://messaging.myspace.com/index.cfm?fuseaction=mail.readmessageV3&userID=38282466&type=Inbox&messageID=561591173#ixzz0tjME95mX

BPI & Aim Protest BBC Plan To Shut Down 6 Music

Wednesday, June 9th, 2010

6 Music closure ‘defies belief’, says music industryRecord industry bodies the BPI and Aim protest over BBC plans, while broadcasting minister Ed Vaizey backs digital station

  • guardian.co.uk,

    ..Lauren Laverne6 Music: Lauren Laverne is just one of the DJs backing new music. Photograph: Rex Features..

    Pressure is growing on the BBC to save 6 Music from closure, with the music industry weighing in to support the digital radio station.

    The BPI, which represents the UK’s music companies, said the proposed shutdown “defies belief” in a draft submission to the BBC Trust.

    It added that closing 6 Music goes against the central tenets of the BBC’s Royal Charter, which requires it to “stimulate creativity and cultural excellence”.

    The trust is consulting on director general Mark Thompson’s wide-ranging strategic review, which will lead to the closure of several services, including 6 Music and Asian Network. The three-month consultation period closes tomorrow, Tuesday 25 May, with the trust expected to publish its findings at the end of the summer.

    In a separate submission to the BBC Trust, the Association of Independent Music (Aim) says 6 Music plays a “pivotal” role developing new musical talent and says the arguments for closing it are “inherently perverse”, according to Music Week.

    Aim says 6 Music is better value for money than Radio 3, which serves a niche audience of classical music enthusiasts, claiming that it costs significantly less per listener than its BBC sister station.

    Ed Vaizey, the new broadcasting minister, also reiterated his support for the campaign to save 6 Music in yesterday’s Sunday Times.

    Vaizey said the “fantastic” digital channel has almost doubled its audience recently. “It is also not a station which the commercial sector can or might offer,” he added.

    The BPI’s submission to the BBC Trust points out that the station’s audience has grown from a weekly average of 155,000 listeners in December 2003 to 1.02 million for the first quarter of 2010, an increase of 560%.

    6 Music has hit every target in its licence agreement, which sets guidelines for the type of music it should play and the audience it should reach, the BPI added.

    These include the amount of concerts broadcast on the channel, which exceeded the 400 hours set out in the licence at 486 hours per year.

    6 Music also met an annual requirement for more than half its output to consist of music that is more than four years old – 55% of its playlist fall into that category, according to the BPI.

    The service also plays a greater number of original tracks than any other station, according to the BPI. It said 60.8% of songs played were “unique” compared with 25.4% for Radio 1, 21.8% for NME Radio and 9.6% for Xfm London.

    These figures were compiled by adding up the number of unique tracks played by each station and dividing that figure by the total number of plays for the period.

    The BPI also argued that the UK’s independent record labels rely on 6 Music for a significant share of their royalties.

    It found that 41% of 6 Music’s playlist consists of independent labels’ artists. Radio 1 was only marginally behind with 40%, while artists signed to independent labels accounted for 26% of Xfm’s playlist.

    BPI research also found that 13% of 6 Music’s output is new music – although that is lower than the proportion of new music played by Radio 1 (21%).

    The BPI chairman, Tony Wadsworth, said: “The BBC’s own charter makes crystal clear that the corporation is specifically tasked with stimulating creativity and cultural excellence. It defies belief, therefore, that the BBC is proposing to close a radio station that excels at doing exactly this, particularly when 6 Music’s audience is growing in leaps and bounds and virtually the entire UK music community is united in support of it.”