As we get closer to its release, KRS-One continues to drop tracks from his highly anticipated 20th album. This latest visual , “Aztecnical”, is a thorough lesson in history and the BS our media tries to feed us. This country runs on a myriad of things, Fear is one of them. Read this Open Letter from KRS-One himself and check out the visual below…
To See full article go to
LOS ANGELES (CN) – Dozens of recording artists accuse CBS Interactive and its subsidiary CNET Networks of promoting “massive infringement” of copyright by offering free downloads of file-sharing software specifically designed for media piracy. They claim CBS and CNET were the main distributors of the “infringement engines,” and made a fortune in ad revenue from their “pay per download” screens.
The artists compare CBS’ and CNET’s inducement to violate copyright with LimeWire and Napster, which were “sued into oblivion” for their copyright violations.
“Over the last decade, countless websites and ‘file sharing’ or peer-to-peer (‘P2P’) software programs – from Napster, in 2001, to LimeWire in 2010 – have been sued into oblivion because a multitude of courts have found that they were essentially engines of infringement, designed with the specific aim of knowingly encouraging, inducing and/or assisting others in direct copyright infringement of artists’ works, and profiting thereby,” the complaint states.
“As a result of these lawsuits, an overwhelming number of these file-sharing sites are now completely inactive and their founding companies are bankrupt. Yet, for most if not all of this time, one particular group of businesses – led by defendants CBS Interactive and CNET – have knowingly and willingly participated in and profited mightily from the same massive infringement that engendered large copyright suits against Napster and LimeWire and that ultimately crippled them financially. And they have done so with impunity.
“In fact, because they owned a number of the most heavily visited sites in the world for downloading software of all types, defendants did more to further this massive infringement than Napster or LimeWire ever could by falsely legitimizing it and popularizing it to the masses.
“As recently as 2010, one could access a legitimate portion of defendants’ sites and download non-infringing, licensed software such as Quickbooks accounting software or Adobe Acrobat, and could during the same shopping session download the LimeWire infringement engine, which was clearly intended to be downloaded for infringing purposes. This ambiguity worked even further to defendants’ advantage by making it seem to the casual consumer that a LimeWire download had the same legitimacy as a download of licensed office software.
“In essence, defendants have taken music piracy from the dorm room to the board room. Thus, while other companies faced heavy statutory penalties and went bankrupt, and music labels banded together to levy practically unconscionable penalties on unemployed college students and housewives, defendants quietly made billions by inducing those same individuals to break the law, by providing them the software to do it, and then by giving even the least computer-savvy a step-by-step guide as to how to do it.”
For more than 10 years, the plaintiffs say, CBS, through its website CNET, has offered free downloads of several peer-to-peer software programs (also called clients), such as BitComet, Morpheus, KaZaa and Frostwire, which were designed primarily for copyright infringement, with built-in features that allow users to search for media on websites dedicated to piracy. The file-sharing networks let users transfer files from one another’s hard drives and locate music and video files by artist name, album, genre and other criteria.
The complaint states: “Defendants furthered the massive infringement carried out through the P2P applications they distributed and popularized by providing detailed reviews that included information regarding the suitability of the clients for copyright infringement as well as instructions and tips on how to use the P2P software to infringe. On cnet.com, Download.com, and other CBS interactive-owner websites, the defendants offered videos, articles, and other media that instructed how to use P2P software to locate pirated copies of copyrighted works and remove electronic protections placed on digital music files in order to prevent infringement.”
The artists say CBS and CNET actively encouraged copyright infringement, in web postings, videos and radio shows, and offered infringement tools to “users that they knew to be actively and unlawfully copying plaintiffs’ works,” such as Napster’s former customers.
“Far from being innocent purveyors of ‘sharing’ technologies co-opted by an international piracy community, defendants were in fact among the architects and developers of that international piracy community and received billions in profits from their efforts,” the artists say.
They add: “The underlying irony in this case is that, despite its endemic inducement of the infringement of plaintiffs’ songs, defendants’ parent, CBS, does not hesitate to cast itself as a defender of intellectual property rights when it concerns its own financial interests. For example, defendants’ parent company, CBS, routinely harasses individuals and small websites which post small portions of its own programming with ‘cease and desist’ letters threatening crushing litigation. When that does not work, it does not hesitate to sue.”
The artists say the defendants’ hypocrisy is evident in the conduct of CNET’s co-founder and former CEO Shelby Bonnie, who served on the Board of Directors of Warner Music Corporation, a prominent member of the RIAA (Recording Industry Association of America), while the RIAA sued LimeWire for copyright infringement.
At the same time, the plaintiffs say, “CNET made a fortune distributing millions of copies of LimeWire and other file-sharing software designed to infringe.”
After a federal judge shut down LimeWire for massive copyright infringement in May 2010, the defendants stopped distributing LimeWire and similar Gnutella applications, but continued to promote and distribute newer, even harder to detect infringing technology, such as BitTorrent applications.
The complaint adds that BitTorrent, which has been downloaded about 100 million times from the defendants’ websites, has become a popular means of transferring files online and “one of the preferred means of digital piracy.”
The artists say CBS and CNET made billions from their pay-per-download program and from ads on popular download websites that encourage copyright infringement.
What’s more, they say, the defendants discouraged users from downloading applications that prevented infringement.
The artists add: “Defendants’ activities vis a vis P2P software are especially egregious, given that CBS defendants own the rights to a massive catalog of television programming and other intellectual property that has been and continues to be persistently infringed over the same P2P networks it helped assemble and grow through CNET and Download.com. Defendants made a cynical decision to attempt to recapture whatever profits were lost through the infringement arising from P2P networks by profiting from the popularity of those networks through Download.com and CNET P2P revenues. By helping construct, expand and preserve the P2P networks, defendants did much more than ‘recoup’ their (self-inflicted) losses from digital piracy, but rather directly and massively profited from the infringement of all the artists whose work was illegally shared on P2P networks. Defendants never offered to share any of the income made from their promotion of infringement with plaintiffs or any other copyright owners whose work was persistently infringed by P2P systems distributed and promoted by defendants.” (Parentheses in complaint.)
The artists seek an injunction and damages for inducement of copyright infringement and contributory and vicarious copyright infringement.
Plaintiffs include film producer Alkiviades David, record company Sugar Hill Music, and various hip-hop and R&B artists.
They are represented by Jaime Marquart with Baker Marquart.
Sound engineers combine a film’s dialogue and sound effects in a post-production studio.
© Piotr Powlietrzynski/Photographer’s Choice/Getty Images
Audio Post Production Systems and Software
Film and TV editing is an entirely digital world. No one sits around splicing film stock anymore. Even if a project is shot on film, it’ll be digitized for editing and laid back onto film for distribution. The same is true for audio post production. The nice thing about digital audio editing technology is that there’s a product and system for every budget and skill level.
For the home studio, everything can be done on a single computer without fancy control panels or consoles. You can buy a basic version of Pro Tools, Adobe Audition or a similar digital audio workstation (DAW) and do all your recording, editing, mixing and exporting using the software’s built-in functionality. Pro Tools doubles as a MIDI (Musical Instrument Digital Interface) sequencer, so you can even record a soundtrack straight into the software using a MIDI controller or live instruments.
Professional audio post production studios add another level of control by using large digital editing consoles. All of the knobs and faders on the console control specific elements within a DAW like Pro Tools or Nuendo. For many editors, it’s faster and easier to manipulate knobs and faders by hand than to constantly be reaching for the mouse and keyboard.
Here are some features of DAW software for audio post production work:
Handles an unlimited amount of separate tracks for the same project. This is especially advantageous in mixing a big project with different Foley recordings, sound effects, dialogue, background noise, music, et cetera.
Tracks the audio to a built-in video feed. This is critical for timing the placement of effects and music.
Allows for tons of different automated pre-sets. Each separate audio recording session requires different levels on each track to create a balanced recording. DAW software makes it so you only have to set those levels once. Once they’re saved as pre-sets, you can just click a button and return to the desired settings. This works with the large consoles as well. Click a button and all of the knobs and faders will return to where they were two Wednesdays ago.
Cleans up bad recordings. Maybe a plane flew overhead when your hero was saying his big line, or the air conditioning unit in the grocery store was buzzing too loud. DAW software includes special filters and tools for cleaning up clicks, pops, hums, buzzes and all other undesirable background noise.
Endless plug-in options. Plug-ins are small software add-ons that allow for additional tools and functionality. They can be special effects plug-ins, virtual instruments for scoring a movie, or emulators that reproduce the sound of classic analog instruments and equipment.
Graphic interfaces for placing sound recordings in the 5.1 surround sound spectrum. By moving a cursor back and to the right, you can make it sound like a train is approaching from behind the audience.
And what’s the deal with THX, Dolby Surround Sound, DTS, Ultra-Stereo and all those other fancy terms? THX is a standard developed by George Lucas to ensure that how a film sounds in the studio is how it’ll sound in the theater. Both soundstages and theaters can be THX certified. The rest are technologies for encoding a film’s final audio, and each requires the purchase of a special license. Different encoding technologies allow for more surround sound channels and apply to either optical or digital soundtracks (for more details, check out How Movie Sound Works).
For more information on audio post production and related topics, check out the links on the next page.
Promo Tip #81 Attend music conferences, indie showcases, music festivals. Gain exposure and network.
Promo Tip #82 Be easy to work with and be flexible. A good reputation carries a lot of weight. Flexibility can also mean possibly adjusting areas of your work or image so as to get your foot in the door if need be.
Promo Tip #83 Have a cause. Create an event to promote that cause. Team up with other like-minded bands and make a news worthy event out of that cause.
Promo Tip #84 Business Cards – When talking to anyone, hand one out. You must include the link to your website. Consider your link as your online business card.
Promo Tip #85 Rolodex your contact list (some sites have contact managers in their member consoles). Make a list and keep it current of all the places online and offline that you need to post to when you need to send out reoccurring press releases of news and events. Be aware that many sites have limits in number and/or timeframes, be careful to not exceed them.
Promo Tip #86 Invoke your personality into your writings to make your invitations, announcements and introductions fun and effective.
Promo Tip #87 Clearly define what you are about Â– quickly, online or offline. People have short attention spans and are short on time – not just the music industry, but most people in general. This is very important! DonÂ’t waste words. Make anything you have to say about yourself or band enough to give the important necessary information and cut out the nonsense.
Promo Tip #88 Create a band calendar with some humorous photos of the various band members at various events.
Promo Tip #89 You heard it through the grapevine. Share Â“someÂ” inside knowledge with other bands and songwriters in your area. Start your own information highway.
Promo Tip #90 Create an automated template for emails. Take the time to add the personÂ’s name with a personal tidbit, but save time with a readymade email guide. Respond to unsolicited emails with your own personalized marketing message and a link to your website.
Music News: Michele Bachmann’s Late Night Intro Music On The Jimmy Fallon Show Was ‘Lyin Ass Bitch’…
As the house band for dancing spider monkey Jimmy Fallon, The Roots are sometimes forced to express themselves via the intro music that they choose to play when various celebrities walk out onto Fallon’s stage.
Last night, Michele Bachmann came on the show. The intro song The Roots played for her: “Lyin Ass Bitch,” by Fishbone. Clip below. Keep up the good work, fellas.
<iframe width=”560″ height=”315″ src=”http://www.youtube.com/embed/d3iyADAmd8Q” frameborder=”0″ allowfullscreen>
Your present circumstances don’t determine where you can go; they merely determine where you start.
Article: Active vs. Passive Fans: Why Radio & TV Still Rank Tops For Music Discovery by Hisham Dahud
The data presented in a recent found terrestrial radio and syndicated television among the main influential sources of music discovery (60% and 49% respectively). With all the new avenues for music discovery out there, why are the majority of people still choosing to shape their musical tastes through premeditated and controlled media sources?
By assessing the data, it leads one to believe that the majority of music consumers are not taking full advantage of this new media age we live in. Personalized services like Pandora and other social-based discovery outlets, allow us to find music we’ll enjoy based on how it will cater to our unique individual tastes, as opposed to what we’re told we’ll like via the mainstream and radio, or through .
If terrestrial radio and passive television still sit atop the music discovery food chain, does this must mean that people haven’t quite caught on to the ease and usefulness of personalized music discovery, or are they just lazy and don’t want to go through the trouble of shifting their paradigms?
used the term “active” music fan – which seems to mean anyone who goes out of their way beyond just passive media to find the music they think they’ll enjoy. This again leads one to believe that the majority of the population must be passive music fans. The study also found that online radio and web videos were the top ways that “active” music fans discovered new music. Both of these occur outside the conventional means of passive media consumption, and while they require a little more effort, their rewards are much more intrinsically valuable to the listener.
These days, we have more of a choice than ever to opt out of passive media recommendations, yet the majority of us continually choose to accept them. Perhaps once we better integrate personalized music discovery and consumption into the places where it already happens most passively (the car, the living room, etc), “active” may become the new “passive” and our paradigms will again shift.
What do you think? Are “active” music fans really the minority? Why do you think the majority of people choose to go with the herd?
This post is by regular Hypebot contributor, musician, and independent music business professional - Hisham Dahud ()
Boom mics record the actor’s voices, which are then edited during audio post production.
© Gregg Segal/Stone/Getty Images
Different Aspects of Audio Post Production
In film and TV, the audio portion of a project is recorded separately from the video. Unlike your home video camera, the film or video cameras used in professional productions don’t have built-in microphones. Instead, all dialogue is recorded with either a boom microphone (those long sticks with the fuzzy mics on top) or a tiny, wireless lavalier mic that can be hidden in an actor’s clothing. Most other audio — like ambient background noise and music — is added in post production.
Post production refers to all the editing, assembling and finalizing of a project once all the scenes have been shot. Audio post production begins once the editors have assembled a locked cut of the project. A locked cut of a film contains all of the visual elements — selected takes, special effects, transitions, graphics — that’ll appear in a film’s final cut.
With the locked cut in hand, the audio post-production staff can start spotting the film for sound. Different members of the post production team look for different things:
The dialogue editor examines every line of spoken dialogue, listening for badly recorded lines (too quiet, too loud, jarbled, et cetera) or times when an actor’s voice is out of sync with his lips.
Sound effects designers look for places where they’ll need to add ambient background noise (honking cars in a city, tweeting birds in the country), and “hard effects” like explosions, doors slamming and gun shots .
Foley artists look for places to fill in details like footsteps across a wood floor, a faucet running, the sound of a plastic cup being placed on a marble countertop, et cetera.
The music editor looks for inspiration to either commission original music or buy licenses for existing song use.
The composer, if he’s already hired, looks for places where original music would add to the on-screen moment.
If the dialogue editor needs to replace or re-record unusable pieces of dialogue, he’ll ask the actors to come in for an automated dialogue replacement (ADR) session. Here, the actors and editors synchronize the newly recorded dialogue with the lip movements on the screen and mix the audio smoothly into the existing recording.
Foley artists — named after the pioneering audio and effects man Jack Foley — use an eclectic bag of tricks to reproduce common sounds (a wooden chair for a creaky floor, cellophane for a crackling fire, a pile of audio tape for a field of grass, et cetera) .
Sound designers and effects editors spend much of their time collecting libraries of ambient natural sounds. They record the sound of Monday morning traffic and save it as a digital file for later use. They record washing machines running, children playing and crowds cheering. You can also buy ready-made libraries with all of these sounds. But some of the best sound designers like to create entirely original effects.
Ben Burtt, sound effects designer on the original Star Wars movies, used a distorted elephant bellow for the roar of a tie fighter. And the famous hum of the lightsaber? A blend of TV static and a 35mm projector .
The most important job in audio post production is the mix, where all of the sound elements of a project are balanced and blended together. Typically, this job is shared by a dialogue mixer, effects mixer and a music mixer . The final copy of the composite soundtrack is delivered either on optical film stock, as a digital file or both.
Now let’s look at some of the systems and software used in audio post production.
Promo Tip #71 Give your fans insider, behind the scenes, back stage with the band info and videos. This is great info to include in newsletters Â– people that signed up to learn more about you on purpose.
Promo Tip #72 Take the good with the bad, and take it all graciously. You must keep your image clean or at least maintain the aforementioned image.
Promo Tip #73 DonÂ’t waste time, prioritize and go with the best bets. Put your energy into the correct market for YOUR music.
Promo Tip #74 If you can write well about a music subject, write and distribute articles. Always source the article back to your website. Let it be redistributed with the bottom author source info to spread your message and link.
Promo Tip #75 Gig swap with other bands from another area to widen your fan base.
Promo Tip #76 A music profile or bio, press kit and press releases should all be well written, free of misspellings, kept current, and to the point. Schedule updates of your various online activities.
Promo Tip #77 Find a business in your area that you can partner with for mutual benefit. If something about a song, style, or image would boost a local business, develop a cross promotional relationship.
Promo Tip #78 Respond to all your correspondence in a timely, businesslike, and correct manner Â– appropriate to the sender. Be considerate of your audience.
Promo Tip #79 Give people what they want. ItÂ’s all about the fans. If they come to your website, give them information that makes THEM feel good. If they come to your show, entertain them, thank them and thank the venue for the experience.
Promo Tip #80 DonÂ’t disappear. Once you have started building your momentum, it is a continuous onslaught.
Want to see Adele for free? It’s pretty much impossible. The “Someone Like You” singer’s comp tickets come with a price: a $20 donation to charity.
Adele’s tour rider, which the Smoking Gun excerpted, states that anyone who gets a comp ticket – be it from the performer, promoters or staff at the venues – must pony up a cash donation to Sands, a charity that funds research on reducing infant mortality and supports those affected by the death of a baby. The rider, which was used on the singer’s partial North American tour this year, stipulates that there are no exceptions to providing the donation.
Other requests on the rider are in the more traditional diva/rock star arena. Adele’s beer must be European – so bring her a Stella, not a Bud, as “North American beer is NOT acceptable.” And don’t cheap out on the red wine, either, as her rider asks for “the very best quality” of fermented grape juice.
Read more: http://www.rollingstone.com/music/news/adeles-tour-rider-requires-charity-donations-for-comp-tickets-insists-on-european-beer-20111206#ixzz1foVQC2tN
Rihanna’s first week album sales have just been released. Rihanna’s new LP unit sales came in at 197,000 close to her last album “Loud”. Her album sales landed her at the third spot on Billboard 200 chart and she has given her fans another piece of music to enjoy.
Rihanna was releasing album notes on Facebook – she’s become a much bigger entertainer with lots more endorsements and her album put her in our top 5 spot for we were watching recently. (See our Rihanna First Week Album Sales Preview here.) Her last album sold “Loud” sold 206,530 units units in the first week and she kept close pace with the new LP. See our short list below.
First Week Album Sales 2011:
Lil Wayne -“Tha Carter IV” -964,000
Drake – “Take Care”- 631,000
ColdPlay – “Mylo Xyloto” – 447,000
Jay-Z and Kanye West – “Watch The Thrown”- 436,000
Rihanna “Talk That Talk – 197,000
So who’s next to come out with something that will top the charts? As the year comes to a close check in with CollegeDJ for our list of “Highly Anticipated Albums of 2012″ and keep up with who’s releasing what next year!
A lot of musicians are nerds.
There. I said it.
Or should I say… were nerds. Their exterior may have a new shine to it now; calm, cool and collected. But on the inside, well that’s a different story.
Let’s face it, many of us became musicians to try and break free from those nerdy chains that bound us. We were introspective, overly shy and awkward kids, not quite knowing our place. But then we found something we loved, music. We embraced a niche that suited our passions, latched on to it and poured everything we had into truly being a part of it.
You grew up. You became cool. You played in a bunch of bands and experienced a modicum of twenty-something success. In fact, you even had a few groupies. But deep down inside, those insecurities still lurked, buried beneath layers of cool.
And then when you wanted success the most, you just couldn’t take things any further. You couldn’t get out of playing the same old house parties. You booked club shows, but no one really showed up. You bought boxes of t-shirts, only to sell a handful. Perhaps you had some internal band fights, lost a couple of members and had to start the long and arduous task of searching for new players.
And that’s when it happened. The Inner-Nerd reappeared. The self-doubting pessimist. The why-is-the-world-against-me, shy Nerd. And guess who he brought with him? Mr. Negativity.
And so began the the fight within yourself. You became your worst enemy, constantly telling yourself that no one cares, no one will ever listen to your music, no one will ever visit your website or go to your shows, no one will ever book your band for a cool festival appearance… no one with any clout in the industry will ever want to work with you. But you kept on going, because that’s all you knew… despite being totally consumed with negative, self-loathing thoughts that made you bitter towards everyone and everything.
But here’s the thing that most people don’t realize; those crazy, self-doubting and fearful thoughts are biological. They happen to all of us. In fact, they’re actually left over evolutionary relics from the ancient lizard brain that still resides within our thick skull. Seriously. I’m not kidding. It’s the oldest part of your brain, and it’s called the amygdala.
Your Emotions Attract Reality. Negativity Attracts Negativity.
These pesky thoughts must be changed in order for you to move forward with positivity and success in your life. But believe it or not, those dark thoughts can be easily duped and reprogrammed. You can trick your amygdala into making those feelings disappear!
The first step is to simply be conscious of them. When you catch yourself thinking crazy shit like this, just tell yourself to snap out of it and knock it off. Now, that may be easier said than done, but just being aware of them is half the battle.
Once you’re aware of these old lizard brain thoughts, use positive affirmations to reassure yourself, “I’m happy, positive and full of vibrant energy! I am master of my universe! Nothing can stop me from achieving my goals!”
Think of the most fantastic, exhilarating, or happiest moment of your life. Got it? Now multiply that times a thousand, or ten thousand. Or a million. Be ridiculous. The more extreme and exaggerated your thoughts and imagery are, the better. You CAN change your emotions. And when you do this, it causes automatic sensations of pleasure and peace of mind… allowing you to move on with the important task at hand; achieving your goals.
If you can control your perceptions, you can control your reality.
Chances are that if you feel like you’re stuck in a rut, it’s due to the negative energy you’re consumed with and are putting out into the world. I’m not saying those feelings might not be valid, but they certainly aren’t doing you any good. They’re standing in the way of you overcoming a temporary situation. After all, if you’re filled with self-doubt you clearly won’t be concentrating on your goals. And if you’re filled with negative emotions, they will undoubtedly affect others around you… who in turn may not want to work with you because of your shitty vibe (or at the very least, won’t be inspired and they’ll have zero motivation because of your blah attitude).
Be conscious of your thoughts. Focus on positive energy.
Change your thoughts, change your mind, change your life.
You are what you think.
Manifest your destiny!
People are so busy dreaming the American Dream, fantasizing about what they could be or have a right to be, that they’re all asleep at the switch. Consequently we are living in the Age of Human Error.
On Friday, December 16th, your late afternoons will be changed forever. will be bringing you live from . Log on and listen every Friday from 5pm-7pm as Tha Bodega Cold Kutz show will keep it real and stay true to the Hip-Hop culture. With (from ) on tha 1 & 2′s, dope beats are guaranteed to be dropped and gems will be played. The show is hosted by along side and Krazi Fresh so the commentary will be up to par. From mixes, to interviews to the latest news… Bodega Cold Kutz show will have it all on deck. Make sure you tune in every Friday and follow/check us out on Twitter and Facebook @
Article written by Lady Blogga.
The opening of the 15th annual John Lennon Scholarship program has been announced by the BMI Foundation, Inc. The 2012 program will award three scholarships to U.S. college student songwriters. Prizes totaling $20,000 will be given for the best original songs submitted to the competition.
Established by Yoko Ono in 1997 in conjunction with the BMI Foundation, these annual scholarships honor the memory of one of the preeminent songwriters of the 20th century, John Lennon. Made possible through generous donations from Ono with matching funds from Gibson Musical Instruments, the program has awarded more than $300,000 to young songwriters over the last 14 years.
According to Samantha Cox, Director of the competition, the program is open to U.S. college students and alumni/alumnae ranging in age from 17 to 24. All lyrics and music must be original. The deadline for entries is April 13, 2012. Competition online.
The BMI Foundation, Inc. is a not-for-profit corporation founded in 1985 to support the creation, performance, and study of music through awards, scholarships, commissions and grants. Tax-deductible donations to the Foundation come primarily from songwriters, composers and publishers, BMI employees and members of the public with a special
Article: Distributor Pulls 234 Labels From Spotify, Napster, Rdio After iTunes Payments Drop 24% by Bruce Houghton
Electronic music distributor STHoldings has pulled all its distributed labels from streaming music services Spotify, Simfy, Rdio and Napster. “Despite these services offering promotion to many millions of music listeners we have concerns that these services cannibalize the revenues of more traditional digital services,” the company said. “These concerns are confirmed in our own accounts and a recent study by NPD Group and NARM.”
The NPD NARM study concluded that music streaming and other free or low cast online music services “are more likely to cause listeners to continue to stream songs, rather than buy them”. To date just 4 of the 238 labels distributed by STHoldings have asked to remain on the streaming music sites. The reaction of one of their labels reaction was, “Let’s keep the music special, fuck Spotify”.
Distributor Offers Some Scary Stats
Several other indie labels and artists have left Spotify in recent weeks, but this is the most extensive exodus to date. UK based is also the first to share hard data:
- In the third quarter of 2011 – the first full quarter that the distributor supplied content to these services – ST’s digital revenue fell for the first time in its history, down 14%.
- iTunes revenue in the same quarter fell 24%.
- Spotify, Simfy, Rdio and Napster accounted for 82% of all ST tracks “consumed” in Q3 but only 2.6% of that quarters Q3 revenue.
- Spotify paid £2,500 or $3376 USD for 750,000 streams in the quarter.
“As a distributor we have to do what is best for our labels,” states the company. “The majority of which do not want their music on such services because of the poor revenues and the detrimental affect on sales. Add to that, the feeling that their music looses it’s specialness by it’s exploitation as a low value/free commodity.”
“Sleigh Ride” Tops List, Having Been Played Nearly 65,000 Times Since October 1
New York, NY, December 6, 2011: Nothing raises peoples’ spirits – and inspires shoppers’ zeal for finding the perfect gift – like holiday music. That’s why radio stations around the country are eager to start playing America’s most beloved holiday songs earlier and earlier each year. ASCAP (the American Society of Composers, Authors and Publishers) has just released its list of most-played songs of the 2011 holiday season. For the second year in a row, “Sleigh Ride” tops the list of songs, which were all written or co-written by members of ASCAP.
“ASCAP is home to America’s greatest songwriters and composers,” says ASCAP President and Chairman Paul Williams. “So it is no wonder that the top holiday songs have been written by our members. This list reflects the enduring power of music. It’s a beautiful thing to realize that a songwriter’s work lives on in such a way, bringing happiness and meaning to millions of people’s lives year after year.”
Since October 1, 2011, “Sleigh Ride” has aired 64,317 times, making it the most-played holiday song on radio so far this holiday season. Although it depicts a wondrous winter scene, “Sleigh Ride” was written originally by Leroy Anderson on a hot summer day in 1946 in Woodbury, CT. Initially composed as an instrumental piece, The Boston Pops Orchestra gave the first performance in a concert conducted by Arthur Fiedler at Symphony Hall in Boston, May 4, 1948, and Mills Music published it that same year. The Boston Pops Orchestra recorded it in June of 1949. After Mitchell Parish added lyrics in 1949, it has been recorded by perhaps the most eclectic range of performers than any other piece in western music, with Leroy Anderson’s recording the most popular instrumental version and The Ronettes’ recording as the most popular vocal version.
The top 10 most-played holiday songs so far this holiday season are listed below, all written or co-written by ASCAP songwriters and composers. Each song includes songwriter credits, and cites the most popular artist version played on radio to date.
1. “Sleigh Ride” – played 64,317 times
Written by Leroy Anderson, Mitchell Parish
Most popular artist version performed by Leroy Anderson
2. “Winter Wonderland” – played 54,741 times
Written by Felix Bernard, Richard B. Smith
Most popular artist version performed by Eurythmics
3. “The Christmas Song (Chestnuts Roasting on an Open Fire)” – played 50,796 times
Written by Mel Tormé, Robert Wells
Most popular artist version performed by Nat King Cole
4. “Let It Snow! Let It Snow! Let It Snow!” – played 49,509 times
Written by Sammy Cahn, Jule Styne
Most popular artist version performed by Dean Martin
5. “Jingle Bell Rock” – played 47,100 times
Written by Joseph Carleton Beal, James Ross Boothe
Most popular artist version performed by Bobby Helms
6.“It’s The Most Wonderful Time Of The Year” – played 46,492 times
Written by Edward Pola, George Wyle
Most popular artist version performed by Andy Williams
7.“Do You Hear What I Hear?” – played 41,633 times
Written by Gloria Shayne Baker, Noël Regney
Most popular artist version performed by Whitney Houston
8. “It’s Beginning To Look A Lot Like Christmas” – played 39,885 times
Written by Meredith Willson
Most popular artist version performed by Bing Crosby
9. “Have Yourself A Merry Little Christmas” – played 38,395 times
Written by Ralph Blane, Hugh Martin
Most popular artist version performed by The Carpenters
10. “Rudolph The Red Nosed Reindeer” – played 37,266 times
Written by Johnny Marks
Most popular artist version performed by Gene Autry
Note: The list represents an aggregation of all different artist versions of each cited holiday song played on radio from 10/1/11 through 11/28/11. The holiday song data was tracked by radio airplay monitoring service, Mediaguide, from over 2,500 radio stations nationwide.
Films like Tim Burton’s Batman require extensive editing of audio, including voices and special effects.
© Terry O’Neill/Getty Images
Batman looks down from a Gotham rooftop into the dark alley below. We hear the sounds of the big city: cars whizzing by, sirens wailing in the distance, indistinguishable voices calling to each other from the street. The Joker and his henchmen enter the alley dragging a helpless Vicki Vale. We hear Vicki’s muffled screams, the Joker’s evil cackle and the scrape of Vicki’s high heels across the pavement.
The movie score swells as Batman dives from the rooftop. We hear the metallic whir of his zip line and his leather cape snapping as it cuts through the air. Then comes the fight — the punches, grunts, thumps and slams punctuated by blaring horns and sharp percussion from the soundtrack.
On the screen, this scene takes less than a minute. But behind the scenes, professional audio post production engineers worked hundreds of hours to make sure that every snippet of dialogue, every scrape of a shoe, every tiny detail of background noise, every sound effect and every second of the film score are perfectly blended to create a cohesive and powerful cinematic experience.
Audio post-production editors won’t ever be famous (they don’t even give them speech time at the Oscars), but the work they do is crucial to film and television productions. A screenwriter can come up with the funniest dialogue in the world, but who’s laughing if the audience can’t hear it? A digital animation team can design dazzling characters and expansive virtual worlds, but often it’s the audio details — the ruffle of the character’s clothes, the wind through the digital leaves and the subtle hints of the musical score — that make the world come alive.
The tools of audio post production can be as low tech as a fist and a sirloin steak (for the most realistic punches) or as high tech as a sprawling mixing console powered by the latest digital editing software.
What are the different roles and responsibilities of an audio post-production team? And how does digital technology help post production engineers do their work faster and better than ever? Read on to find out.
Promo Tip #61 You will hear a lot of noÂ’s and negativity. That is to be expected as everyoneÂ’s taste is different. Hopefully someone will give you some constructive criticism. Learn from it what you can but keep moving forward.
Promo Tip #62 Develop yourself as a complete package. Record labels do not spend the money on A&R as in the day. Educate yourself as a well-rounded music artist and present yourself as such.
Promo Tip #63 Elevator Pitch Â– If you only have one shot to make an impression in 30 seconds or less, can you do it? You will need to, so practice it!
Promo Tip #64 Post your gigs on your website(s), class ads, Craigslist, Backpage and other sites for your location.
Promo Tip #65 Submit your music to songwriting competitions, musician competitions, singing contests Â– try out for American Idol, for gosh sakes!
Promo Tip #66 Do a free conference call to chat with fans using your website. Record the call and follow up by posting the MP3 on your site. Promote it for all its worth.
Promo Tip #67 Never release an inferior product, send out professional, and only your very best demos and new releases.
Promo Tip #68 Get testimonials and reviews from people that matter and start locally if you have to. Add them to your press kit.
Promo Tip #69 Make sure you make it easy for potentials sales to happen whether on your site or at a show. Make the payment process, safe, secure and EASY.
Promo Tip #70 Have a house concert. Invite the neighborhood to your backyard.
In a stunning move that has civil libertarians stuttering with disbelief, the U.S. Senate has just passed a bill that effectively ends the Bill of Rights in America.
[The article's heading re-named on Dec 4, 2011 (01:28 local time SE). The word "declares" was exchanged with "wants"]
The National Defense Authorization Act is being called the most traitorous act ever witnessed in the Senate, and the language of the bill is cleverly designed to make you think it doesn’t apply to Americans, but toward the end of the bill it essentially says it can apply to Americans ”if we want it to.”
|, 112th Congress (2011 – 2012) | S.1867 | Latest Title: National Defense Authorization Act for Fiscal Year 2012 | Sponsor: Sen Levin, Carl [MI] (introduced 11/15/2011) | Related Bills: H.R.1540 | Latest Major Action: 12/1/2011 Passed/agreed to in Senate. | Status: Passed Senate with amendments by Yea-Nay. 93 – 7. | Record Vote Number: 218. | Latest Action: 12/1/2011 ||
This bill, passed late last night in a 93-7 vote, declares the entire USA to be a ”battleground” upon which U.S. military forces can operate with impunity, overriding Posse Comitatus and granting the military the unchecked power to arrest, detain, interrogate and even assassinate U.S. citizens with impunity.
Even WIRED magazine was outraged at this bill, reporting:
Senate Wants the Military to Lock You Up Without Trial
…the detention mandate to use indefinite military detention in terrorism cases isn’t limited to foreigners. It’s confusing, because two different sections of the bill seem to contradict each other, but in the judgment of the University of Texas’ Robert Chesney — a nonpartisan authority on military detention — “U.S. citizens are included in the grant of detention authority.”
The passage of this law is nothing less than an outright declaration of WAR against the American People by the military-connected power elite. If this is signed into law, it will shred the remaining tenants of the Bill of Rights and unleash upon America a total military dictatorship, complete with secret arrests, secret prisons, unlawful interrogations, indefinite detainment without ever being charged with a crime, the torture of Americans and even the ”legitimate assassination” of U.S. citizens on right here on American soil!
If you have not yet woken up to the reality of the police state we’ve been warning you about, I hope you realize we are fast running out of time. Once this becomes law, you have no rights whatsoever in America — no due process, no First Amendment speech rights, no right to remain silent, nothing.