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Archive for January, 2006
Interview With Performing Songwriter Ann-Marita
Author: admin29 Jan
Interview With Performing Songwriter Ann-Marita
Multinational Artist Charts With First Single Release
by Cindy Beth
Gordon,
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The story of performing songwriter Ann-Marita’s life unfolds over four countries on three
different continents. Growing up on a farm in the Norwegian mountains, she was as country as
country gets. But with a great love of music and the desire to create some herself, and without any role
models closer than the stars of her parents’ record collection: Dolly Parton, Johnny Cash, Jim
Reeves, Lynn Anderson, and of course Kenny, she had to use her imagination. She taught herself to
play air piano on a peculiarly shaped rock on her family’s property before she eventually
graduated onto an antique church organ with pump pedals-the only musical instrument she had access to.
By the time Ann-Marita was a teenager, she was writing songs and performing
wherever she could. She was influenced by other musical styles like rock and the blues, which would
color the sound that eventually was to become so uniquely her; the sound that has been referred to as
“Ann-Marita Country.”
Ann-Marita’s slow trip around the world started with many years of life in a small
mining community north of The Arctic Circle. Then, at fifteen, she spent a year living in Iowa,
USA, as a foreign exchange student. This was followed by Gothenburg, Sweden, where she landed a
two-year contract as the lead vocalist in an international show band performing on cruise ships in
Northern Europe. Having completed her contract, she headed for Hollywood, California, where after
two years of music studies she received the “Most Outstanding Vocal Student” award from the
acclaimed Musicians Institute.
width="170" height="350" hspace="2" vspace="2" border="0" align="left">Things were looking very
bright as Ann-Marita signed a two-album record deal with a Los Angeles-based production company. But
after a year of day-and-night recording sessions and many lessons learned, Ann-Marita found that
the contract had been a scam and her “production team” had mysteriously disappeared off the face
of the planet. It was time to try something different.
Ann-Marita arrived in Australia in 2003, ready for a new beginning. Through the
obstacles and turmoil she had written the songs for her self-titled debut album, which had been
recorded in part in California with the help of musicians like bassist Ric Fierabracci from Chick
Corea’s Elektric Band. The album was then finished in Melbourne, Australia, where some of Australia’s
top musicians form John Farnham Band added their parts to the project, including guitarists Brett
Garsed and Stuart Fraser, keyboard player Chong Lim, and harmonica player Steve Williams.
Since the album’s independent release in June 2004, it has gained airplay in
Australia, New Zealand, USA ,and a number of European countries. The album has propelled Ann-Marita
past nearly 3,000 other artists to hit the # 35 spot on the Worldwide Mainstream Most Played Major &
Indie Artists Chart by the end of 2004. Her single, “Face In The Crowd,” released through Comstock
Records, hit # 4 on the European Country Music Association airplay charts in Scandinavia, the
U.K., and Austria that same month.
Critics are raving about this young Norwegian/Swedish/American/Australian
singer/songwriter. Star Newspapers in Chicago calls Ann-Marita’s debut album “Ša Down Under Gem,” and
Australia’s Country Update Magazine says: “This is a very worthy introduction to an artist who
obviously knows where she wants to go and has plenty of confidence in her ability to get there.”
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Artist: Ann-Marita
Title: Ann-Marita
Genre: Alt-Country, Country Rock
Label: Self released
Website: www.annmarita.com
Download: “Face In the Crowd”
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[Cindy Beth Gordon] Hi Ann- Marita. I hear you
released a new single off your debut album, Ann Marita. Can you tell us about that?
Ann-Marita Yes, just last year, I released my debut album, simply
titled Ann-Marita, and my current single is called “Face In The Crowd.” It was just
released to radio here in Australia, and I’m so excited about the response it’s been getting so far!
[Cindy Beth Gordon] Are you going to be performing
and/or doing a tour at all?
Ann-Marita I’m planning a tour in the not-so-distant future. I’ll
keep you posted on that as soon as I can give some specifics. But right at the moment, I’ve
got the opportunity to go back into the studio to do some more recording, so I’m making sure to
take advantage of that.
[Cindy Beth Gordon] What is your website information?
Ann-Marita My official site is www.annmarita.com - you can read
about the latest happenings in my career, background information, check out some photos, and listen
to my music. You can also sign up for my newsletter for regular updates.
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[Cindy Beth Gordon] And where can people purchase
your CD?
Ann-Marita You can always order my CD, Ann Marita, through
my official website www.annmarita.com. It’s also available from www.cdbaby.com and several other
sites, and you can also download it for less than $ 9.00 from iTunes and other legal download
sites.
[Cindy Beth Gordon] Who are some of your favorite
artists and/or influences?
Ann-Marita My taste in music is very eclectic, from traditional
country artists like Dolly Parton and Johnny Cash to contemporary country artists like Trisha
Yearwood, Dixie Chicks and Allison Moorer. Rockers like Bonnie Raitt, The Eagles, Linda Ronstadt and
Shawn Colvin have also had a huge influence on me, as well as blues and R&B artists like Etta James
and Aretha Franklin. My own style of music is not traditional country by any means; it’s about as
mixed up as my background is, having lived in four countries on three continents.
[Cindy Beth Gordon] Do you have any other hobbies
aside from music?
Ann-Marita Well, music takes up most of my time, actually, but
whenever I have some free time, I love to just relax and read a book. No, I’m not into mountain
climbing or base jumping or any of those things; the ups and downs of the music business create enough
excitement for me!
[Cindy Beth Gordon] Yes, I know what you mean. Did
you write or co-write any of the songs on your current CD?
Ann-Marita I wrote all of the songs for my current CD, and that
will probably be the case for the next album, as well. Songwriting is something that I put a lot
of time and energy into, and I love to be able to express myself through my songs. But this
doesn’t mean I won’t record other people’s songs in the future.
[Cindy Beth Gordon] And what do you like to sing
about?
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Ann-Marita Anyone who knows my music will know that there’s a bit of a feminist in
me. I love songs about strong women, who go through hard times, but come out on the other side
with their head held high and a positive attitude. Triumph, survival, following your heart - even
when everyone around you seems to think you’re crazy! That’s the kind of stuff I can really relate
to.
[Cindy Beth Gordon] What are one or two of your
favorite songs on the CD, and what inspired those songs?
Ann-Marita Each song is a favorite in some way or another, but if
I have to pick one, it would have to be “Face In The Crowd.” I was sitting in a club one night,
watching a live band, when all of a sudden I noticed someone sitting over by the bar, someone who
looked so much like someone I used to know, it startled me. I spent the next forty-five minutes
trying to figure out whether or not it really was that person, - turned out it wasn’t - but in the
meantime, I had scribbled out the words to the song on a paper napkin in front of me. I sat down at
the piano the minute I got home, and finished the song that night.
Another song that I’m very proud of is called “Alive and Kickin.” It’s a song for
all the girls out there who feel that they’ve wasted too much time on the wrong guy, and are
ready to get back to their lives! This song rocks - much thanks to the amazing band I was so fortunate
to have backing me on this record.
[Cindy Beth Gordon] What is the best advice someone
ever gave you that you remember?
Ann-Marita Listen to your gut feeling. If something doesn’t feel
right, walk away from it - it will save you every time.
[Cindy Beth Gordon] That sounds like good advice.
Anything else you wanted to add that we didn’t cover today?
Ann-Marita I’d like to send out a big thank you to all the music
lovers out there who are currently supporting us Indie artists! Competing for airtime and media
exposure alongside major label artists is not an easy task. And we could never do anything or get
anywhere without the people out there who look beyond the small number of high-profile artists who
get the most of the available airtime to hear some different stuff. Thank you, all.
[Cindy Beth Gordon] Thanks Ann-Marita. Any upcoming
projects and/or future plans?
Ann-Marita As I briefly mentioned before, I’m working on another
album at the moment. I’ve been writing a lot of new material, and we’re in pre-production right
now. I’m hoping the new record will be out within the next few months! Other than that, I’m just
gonna keep doing what I’m doing. A promotional trip to the U.S. is in the works, and I will keep you
all posted on that.
[Cindy Beth Gordon] Well that sounds great. We wish
the best of luck with your current CD and the new single, “Face in A Crowd!”
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
Yanju Brings Political Controversy To File Sharing Networks
Author: admin29 Jan
Yanju Brings Political Controversy To File Sharing Networks
“IWA” music video brings together Saddam Hussein, Idi Amin, the Berlin wall, General
Abacha, Arafat, Tony Blair and George Bush
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align="left">UK-based Nigerian born musician Yanju has
released his politically controversial music video IWA on major peer-to-peer networks. The video,
encoded with INTENT Media’s proprietary technology, will be pushed through search placements in
major file sharing applications such as Morpheus, Kazaa and eDonkey. The campaign will also be
supported by online marketing campaign conducted by the MusicDish Network, which has already garnered
over 1 million downloads for Ms. Cherry’s music video “It’s Whatever”.
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Download & share “IWA”
“From Nigeria now in the U.K, Yanju mixes up West African, electronic and dance music in a
splendid fashion,” commented Chris Nickson from Global Riot Idiot. “From the wonderful opening cut, with
real tribal rhythm and vocals working over and around techno to slower cuts that are eerily
reminiscent of Peter Gabriel (in the best way) this is a stunner of a disc.
BBC World Music noted: “There’s far more to Nigerian music than Afro-beat, as
Yoruba master percussionist Yanju (IWA’s founder) proves on this under-the-radar, 10-tune set of what
I’m loathe to call Afro-House (the tag means nothing to me) but would be happy with, say, ‘juju,
fuji and apala spirits fused with London clubland production ideas’ or something equally
cumbersome.”
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Download & share “IWA”
The “IWA” music video is a message to world leaders to respect the democratic aspirations of the
very people they govern. The basic message is no one knows what tomorrow will be or bring. The
present will judge before history does. The song itself is directed at leaders of all works of life
but it uses politics as a video channel to remind society at large not to get power intoxicated.
The video is divided into 3 sections to drive the message home:
Section 1
The first section is about leaders who history has judged. Mandela is shown in true light and
respect as a free man because that is what he truly is. He is not free because he was freed by the
very system that imprisoned him. He is free because he brought freedom to his people and gave
South Africa hope against all odds.
vspace="2" border="0">Download & share
“IWA”
The video then focuses on Saddam and Idi Amin by portraying them first as glorified leaders and
then showing how tragically their power has ended. Idi Amin is symbolized with red and blood all
over him because he was an African Hitler.
Section 2
This section focuses on people desire to be free and not to be oppressed and it is shown in
the form of people bringing down the Berlin wall which itself was a symbol of repression.
Section 3. The finale
This section focuses on the world leaders who have been truly judged and who are yet to be
judged. It uses the very exact real time phrases that the press has used to symbolized and judge
these leaders. It opens with the Nigerian fascist despot General Abacha, who barely 24 hours after his
death is portrayed as a despot in the Nigerian press.
vspace="2" border="0" align="left">Download & share
“IWA”
Arafat is portrayed as a president even though he wasn’t recognized to be one by the world
established political machinery of the world because he tried to bring freedom to his people.
It finally ends with question mark on Tony Blair and George Bush against a
background of clouds of blood. The question mark is simply a symbol for “yet to be judged”; the clouds of
blood in the background signifies the blood of Iraq hanging over Tony Blair and George Bush even
though they are yet to be judged. Overriding western interpretation of the video has been freedom.
Perhaps because most people in the west feel and live freedom. Perhaps because western media has
portrayed developing countries as having a lacking freedom.
This is not so far off from what Yanju intended to communicate. However Africans
especially Nigerians who understand the lyrics are instinctively in tune with what it was
originally meant to convey.
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
MusicDish Network Adds New Music Videos To Peer-to-Peer Distribution
Author: admin29 Jan
MusicDish Network Adds New Music Videos To Peer-to-Peer Distribution
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The MusicDish Network
announced the upcoming addition of new music videos from R&B singer Kieran and Pop artist Jann Klose to
its peer-to-peer viral distribution campaign. The videos, encoded with INTENT Media’s proprietary
technology, will be pushed through search placements in major file sharing applications such as
Morpheus, Kazaa and eDonkey. 
width="183" height="273" hspace="2" vspace="2" border="0" align="right">The campaign will also be
supported by online marketing
campaign conducted by the MusicDish Network, which has already garnered over 1 million downloads
for Ms. Cherry’s music video “It’s Whatever”.
Sultry, exotic eye candy describes the debut music video from hot R&B up and
comer Kieran for his Scott Storch
produced single “Let’s Get Away”. Filmed on
location in Caribe, Puerto Rico, Kieran gives viewers an impromtu “Get Away” to the exotic island with
it’s lush scenery, beautiful women and plenty of shots of the gorgeous R&B newcomer. Kieran is in
high demand and must make a trip to the island with his publicist to meet with his label
head. Kieran just wants to spend time with this one particular lady (his publicist) despite being
surrounded by adoring fans. After Kieran cracks her ultra professional demeanor the fun begins. This
stunning visual is guaranteed to please Kieran’s fans, old and new.
target="_blank">
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target="_blank">Jann Klose’s video was filmed live at the famed Greenwich Village club The Bitter
End on May 12th and has appeared on Dave’s Place, a music TV show on Manhattan’s Time Warner
Cable. The
target="_blank">video gives audiences a peak into Jann’s live performances as well as hearing him and
his band in an energetic and exciting setting. In addition to vocals and guitar work from Jann
Klose, this online release features musicians Roberta Piket on keyboards, Chris Marolf on Upright Bass,
Vocals and Patrick Carmichael on drums.
About MusicDish Network
The MusicDish Network is a unique web music platform gathering hundreds of music-relates
websites and webradio programmers. Through its artist marketing and development services, it reaches
millions of music fans and professionals around the world, expanding an artists’ exposure, sales and
fanbase.
http://www.musicdish.net
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
Statement Of U.S. Senator Russ Feingold, AFTRA & AFM President Tom Lee On The Introduction Of New Payola Legislation
Author: admin29 Jan
Statement Of U.S. Senator Russ Feingold, AFTRA & AFM President Tom Lee On The
Introduction Of New Payola Legislation
The Radio And Concert Disclosure And Competition Act Of 2005
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Mr. FEINGOLD: Mr. President, I am pleased to introduce legislation today that will promote
openness and fair competition in the radio and concert industries.
I have followed the changes in the radio and concert industries since the 1996
Telecommunication Act with great concern. For years, I have heard complaints from my constituents
about the increasing concentration of ownership in the radio and concert industries and, in turn, the
increasingly uneven playing field for small radio stations and independent concert promoters. For
consumers this has meant less diversity, less local content and growing dissatisfaction with the
radio and concerts they are offered.
Most recently in the last Congress, I introduced broad legislation to address
ownership consolidation and the anti-competitive practices common in the industry. These practices
include tacit or explicit pay-for-play, or “payola,” payments, and corporate radio stations putting
untoward pressure on artists to play at the same corporation’s venues use affiliated concert
promoters. While I continue to be concerned by consolidation and believe this centralization exacerbates
the potential for abuse, the bill I introduce today focuses instead on the anti-competitive
practices, whether they occur at a radio station group of a handful of stations or one that owns
thousands of stations.
Some might question why we need added scrutiny and accountability for the radio
and concert industries specifically. Besides the unique role radio plays for communication and
entertainment in each American’s life, radio also is, in a sense, a public-private partnership. With
radio’s use of the public airwaves, it also has a responsibility to serve the public good.
The abuses within the radio and concert industry are not entirely new. In fact,
problems have occasionally sprung up almost throughout the entire history of the medium. There
almost seems to be a cyclical pattern as the payola is rooted out and then several years later is
reincarnated in slightly different form to grow to become pervasive again. So while the original payola
practices predated the recent rapid consolidation in the industry, the concentration of power has
made the problem more widespread and its effects possibly more severe on local stations,
promoters, artists and consumers.
While paying a radio station or radio station employee to play a certain song
without telling the audience has a long history in radio, this does not make the fraud and bribery any
more acceptable. In the 1950s, the practice was relatively simple. Artists, their labels or
managers would often directly bribe DJs to play their songs either in cash or through other
consideration. When this practice became public, there were investigations and Congress and the Federal
Communications Commission (FCC) took actions to block this payola.
The most recent incarnation of payola takes a more complicated and sophisticated
corporate, if you will approach to skirt the current rules that prevent direct pay-for-play.
Indirect payments through independent music promoters have been an open secret, as have more
direct payments, as the ground-breaking investigation of New York Attorney General Eliot Spitzer
demonstrates. While the Spitzer investigation is ongoing, he has already uncovered significant abuses
and this summer reached a $10 million settlement with a record label.
While not traditionally considered payola, there are other abuses of power over
airplay decisions by radio stations and their corporate parents, especially when the conglomerate
also owns concert promoters and venues. This cross-ownership sets up a situation where the same
corporation that is negotiating a contract for an artist to perform at its concert also controls the
lifeblood of that artist’s success airplay of his or her songs. The result can be intense
pressure on artists to play radio station-promoted shows and, often, to do so for less than the normal
rate. This practice hurts the artist, hurts competing independent stations and promoters and,
ultimately, hurts the listening public, which ends up choosing from songs on the radio that have been
selected based on where and for whom the artist is performing a concert, and for the songs’
artistic merit. Moreover, for any artist who deigns to refuse the direct or implied extortion from the
conglomerate!
, as Don Henley’s courageous testimony in a 2003 Commerce Committee hearing clearly explained,
there is the risk of retaliation - either immediately or by boycotting the next single or album the
artist produces. And with the consolidation in the industry, that boycott might not just be in one
station in one market; it could be forty stations in many markets. Facing this kind of potential
threat, you can see why even the most popular acts are afraid to speak publicly.
The bill I introduce today proposes a multi-faceted approach to the various
entrenched forms of payola. The bill would simultaneously strengthen the FCC’s ability to prove and
punish violators, close the loophole allowing indirect payola, prevent cross-ownership from hindering
fair competition, and, perhaps most importantly, increase transparency through disclosure of the
payments to radio stations from artists, labels, promoters and others who may have an interest in
improperly influencing airplay decisions.
The bill improves the FCC’s ability to enforce payola violations through several
means. It requires radio stations to make transactions with entities like record labels that might
have an interest in influencing airplay on an “arm’s length basis.” Moreover the bill requires
record-keeping of such transactions and makes the records available to the FCC in the event of an
investigation. In addition, the bill significantly increases penalties for payola violations and
allows the FCC to consider revoking a station’s license. As we have seen in the realm of indecency,
multimillion dollar companies do not blink at the current fines of $10,000 per violation, but the
prospect of putting a license in jeopardy will get their attention.
As I’ve already mentioned, the current payola rules were put in place for an
earlier, simpler incarnation of the practice the direct bribing of DJs and stations. Payola has
changed, often going through third parties such as independent music promoters or under the guise of a
legitimate transaction. The bill broadens the current rules to include these indirect payments,
so no matter what tortured path money or other consideration travels, if it is for airplay and not
disclosed, it is payola.
Cross-ownership of radio stations and concert promoters or venues poses a serious
problem for fair competition. Without controls, the relationship injects the profitability of a
concert and not artistic merit into airplay decisions. The bill would either prohibit this, in the
case of cross-ownership, or place controls to ensure fair competition in the concert promotion
industry.
The final element of the bill increased transparency - hopefully will have the
biggest impact by deterring payola in all its past, present and future incarnations. The bill
requires radio stations to disclose all receipts of payments or consideration that could be used as a
front for payola along with a list of the songs played every month, broken down by label and
artist. While corporations may not fear the current hard-to-prove $10,000 fines, they do understand
public relations. The potential for consumers and the media to use these records to connect the dots
should have a chilling effect on the practice and may mean that the FCC Enforcement Bureau will
rarely even need to be involved. But if problems persist, this bill will provide the Bureau with
better powers and evidence to combat payola in all its forms.
Finally let me put this in context and remind my colleagues that radio stations
use a public resource, the airwaves, to reach their listeners. With this use comes a responsibility
to the public and an understanding that they accept a degree of increased scrutiny. My legislation
strives to ensure that the public knows when it hears a song on the radio that it is because the
station, the DJ, the public, or even a focus group, believes it has artistic merit and that it is
something the listeners will enjoy. Too often, today’s radio listeners are left to wonder whether
a song was played because the station manager got a new laptop or because the station’s parent
company is producing the artist’s upcoming concert.
It boils down to choices. This bill will reinstate choices, the fundamental basis
of competition; choice for the artists to pick which concerts to play and who they want to promote
their concerts; choices for the radio stations to play songs based on merit, or at least not
based on narrow financial interests; and ultimately choices for consumers as artistic merit instead of
the ability to pay carefully disguised bribes broadens the field of artists who can compete.
I am pleased that my bill has been endorsed by the following groups, and I am
grateful for the input they have provided about problems in the radio and concert industries: the
American Association of Independent Music/A2IM; the American Federation of Television and Radio
Artists; the American Federation of Musicians of the United States and Canada; Consumers Union; Free
Press; the Future of Music Coalition; the National Academy of Recording Arts and Sciences, Inc.; and
the Recording Artists’ Coalition. I urge my colleagues to join me and support this legislation to
promote fair competition in the radio and concert industries. I urge my colleagues to join me and
support this legislation to promote fair competition in the radio and concert industries.
AFTRA Applauds Introduction Of New Payola Bill
height="143" hspace="2" vspace="2" border="0" align="right">The American Federation of Television and Radio
Artists (AFTRA) applauds Senator Feingold’s efforts to create legislation that will shine a light
on the insidious practice of payola, which has continued to suppress employment opportunities and
income for AFTRA recording artists.
By providing full disclosure of industry transactions between record labels,
promoters, concert venues, and radio stations, this legislation levels the playing field for all AFTRA
recording artists and performers by striking a balance between the need for exposure against the
need for income and success. “For too long, especially since the passage of the 1996
Telecommunications Act, AFTRA recording artists have been economically leveraged by media conglomerates who
control the very life of an artist through airplay, concert venues, and promotion,” noted AFTRA
Assistant National Executive Director of Sound Recordings, Randall Himes. “With this new legislation,
AFTRA recording artists have an opportunity to have a voice and a greater opportunity for airplay
that will no longer be determined by the financial strength of a promoter or media conglomerate.”
AFTRA extends its deepest thanks to Senator Feingold and urges his colleagues in
Congress, on both sides of the aisle, to join him in passing this important legislation that is so
vital to artists in America.
Statement Of AFM President Tom Lee On The Introduction Of New Payola
Legislation
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“I want to thank Senator Feingold for introducing the Radio and Concert Disclosure
and Competition Act of 2005 today. The root problem that this bill attempts to correct is the
age-old, industry-wide issue of radio payola.
Although payola has been outlawed for over fifty years now, there has been no
shortage of independent promoters, record companies and complacent radio stations, many now owned by
large multibillion dollar conglomerates, who have worked tirelessly to find a way around payola
laws. Many of these elements have become especially successful since the passage of the 1996
Telecommunications Act which broke down many walls of media ownership. The result has been rapid
consolidation in the music industry, with only a handful of large companies now owning most radio and
concert venue properties across the country, essentially making the music community a closed circuit,
accessible only to a select few artists who happen to be favored by these large companies.
Senator Feingold’s bill is a positive step in fixing this broken system by
expanding the definition of payola to take into account the realities of the modern music business and
its corporate-driven promotional schemes.
The American Federation of Musicians looks forward to working with Senator
Feingold to achieve passage of this important bill.”
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
Warner Music Group Corp Settles In Payola Investigation
Author: admin29 Jan
Warner Music Group Corp Settles In Payola Investigation
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Attorney General Eliot Spitzer announced the second settlement in the music industry’s
“pay-for-play” probe.
Warner Music Group Corp., the third largest record company in the United States,
has agreed to abandon the industry-wide practice of providing radio stations and their employees
with financial incentives and promotional items in exchange for “airplay” for Warner’s recordings.
Such payoffs violate state and federal law.
“Warner is the second major player in the music industry to come forward and
acknowledge that these practices are wrong,” Spitzer said. “Unfortunately, other companies continue to
engage in them. I applaud Warner’s decision to halt this conduct, cooperate fully with my office,
and adopt new business practices.”
This is the second settlement stemming from Spitzer’s payola investigation, where
he has uncovered a rampant industry practice of record labels offering streams of financial
inducements to radio stations and their employees to obtain airplay for the recordings by Warner’s
artists.
The financial benefits provided in exchange for airplay, also known as “payola,”
took several forms:
* Direct bribes to radio programmers, including airfare, electronics, tickets to
premier sporting events and concerts;
* Payments to radio stations to cover operational expenses;
* Radio contest giveaways for stations’ listening audiences, including flyaways, concert
tickets, iPods, gift certificates and gift cards;
* Hiring independent promoters to act as conduits for illegal payments to radio stations;
* Purchasing “spin programs” to artificially increase the airplay of particular recordings.
The Assurance of Discontinuance summarizing the Attorney General’s findings
alleges that the illegal payoffs for airplay were designed to manipulate record charts, generate
consumer interest in records and increase sales.
Under the Assurance, Warner, building on guidelines it issued earlier this year in
response to the AG’s investigation, has agreed to stop making payoffs in return for airplay and
to make full disclosure of all items of value provided to radio stations.
The company has also issued a statement acknowledging its improper conduct and
pledging to abide by a higher standard.
In addition, the company has agreed to provide $5 million for distribution by
Rockefeller Philanthropy Advisors to New York State not-for-profit entities in a manner that will
inure to the benefit of the residents of the State of New York by funding programs aimed at music
education and appreciation.
Last summer, Spitzer entered into a similar settlement with SONY BMG MUSIC
ENTERTAINMENT.
The investigation and settlement were handled by Assistant Attorneys General
Geneva M. Johnson and Lourdes M. Ventura, under the direction of Terryl Brown Clemons, Assistant Deputy
Attorney General for the Division of Public Advocacy.
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
Magnatune: A Voluntary-Based Model For Online Music
Author: admin29 Jan
Magnatune: A Voluntary-Based Model For Online Music
Analyses Of The Behaviour Of Its Online Consumers
by Tobias Regner &
Javier Barria,
width="209" height="54" hspace="2" vspace="2" border="0">
Introduction
height="300"> |
Social preferences have been increasingly studied in theoretical and empirical research. We
develop a social preferences-based model to analyze the music industry which struggles to adjust its
conventional business model to the challenges of P2P file sharing networks.
Conventional online music stores attempt to implement Digital Rights Management
(DRM) systems in order to stop illicit copying. However, effective copy protection appears to be
hard to achieve as P2P file sharing still thrives. Moreover, common DRM systems restrict consumers in
their consumption in various ways (limitations on sampling, burning or transferring content).
The niche label Magnatune (cf. sources) goes another way. It lets consumers choose
from a given price range ($5 to $18). They can pay what they want for music. Moreover, Magnatune
offers a free and comprehensive music discovery tool. An online radio service with unlimited
streaming lets consumers try out songs they are interested in. We collected a data set of all the
label’s transactions over 18 months and analyzed the payments that consumers made.
The results of our investigation of this alternative business model the
variable pricing concept of Magnatune are presented in the following. First we describe Magnatune in
detail; next we introduce our theoretical model and highlight the findings of our data analysis.
Finally we draw conclusions from the research performed. The complete theoretical model and the full
regression analysis of the data can be found in an extended paper (Regner and Barria 2005).
The music label Magnatune
The label was founded in October 2003 and it has around 200 artists on contract.
Magnatune prides itself of having a very strict selection process to guarantee high quality. The
revenue is evenly split between artist and Magnatune and its slogan is: “We’re a record label. But
we’re not evil.”
File quality and format is up to the consumer. Even CD-quality files can be
downloaded and the formats on offer give a good choice: WAV, MP3, OGG, FLAC and AAC. The payment is
variable as consumers can set the price themselves. The given price range for an artist’s album is $5
to $18 and Magnatune recommends $8. The actual price is selected by the consumer in a pop-up menu
where $8 is the default setting.
Payment is processed by credit card or PayPal. As it is not compulsory to leave an
e-mail, consumers can remain anonymous at Magnatune. Albums can be downloaded online or bought as
a CD. A fee ($4.97) for the physical costs of material and shipping is due for CD purchases.
Magnatune is based in the USA, but as an online store it has consumers around the world.
Magnatune’s artists are categorized in various different genres. There is a wide
range of music available from classical music to Electronica, Jazz and Blues, Metal and Punk, New
Age, Rock and Pop, World and several more. Magnatune can be seen as a niche label that offers music
of relatively unknown artists. Mainstream music of famous artists is not sold. Therefore, the
focus of Magnatune and the article’s is music of less-known artists and subsequently uncertain
quality.
Experience good aspects are well taken into account at Magnatune as music
discovery is greatly facilitated. Full streaming access to all songs is provided in low or high quality.
An online radio service can be used to listen to genre selections or artists’ albums. Visitors of
the site are allowed to test the available music as often as they want.
Essentially, consumers have all possible means available to sample music and find
out how much a song/album is worth to them before having to make a decision on the payment. This
stands in stark contrast to the usual practice of conventional online music stores where merely 30
seconds snippets of songs are available for sampling if at all.
Summary of the model
We studied the relationship between labels and consumers using a moral hazard
model for our analysis. It takes social preferences (see Camerer 2003) into account and it considers
the importance of free sampling of experience goods (e.g. music).
Magnatune’s comprehensive pre-purchase access allows consumers to make an informed
buying decision. They can experience the information good long enough to determine how much it is
worth to them and decide whether they really want to buy it.
This full pre-purchase access can also be regarded by consumers as kind behavior
of labels (as it allows them to make an informed choice). Consumers are willing to reciprocate by
making a high voluntary payment, if they are socially-minded. Selfish consumers would free ride and
would only pay the minimum.
In the model the label offers music online on its web site and consumers purchase
albums. The payment of consumers is not enforceable as substitutes are available for free in P2P
file-sharing networks. It is therefore subject to moral hazard. Moreover, the value of consumption
depends on the amount of pre-purchase access to music. Limited access and restricted sampling mean
a lower value for consumers than comprehensive pre-purchase access.
In contrast to a conventional label, the set up of Magnatune allows for an open
contracts design. The agents have the opportunity to respond to the action of the other. Thus, both
sides are encouraged to reciprocate. Fairness and reciprocity can also be regarded as the
enforcement device of this contract (see Fehr et al. 1997 for a similar model in a labor market context).
The fact that the consumer in our model is free to choose the payment from a given range adds this
feature to the contract design. Hence, our model consists of two stages. First, the label decides
whether it allows free comprehensive pre-purchase access to the music or not. Then, the consumers
make their purchase and payment decision (being kind, e.g. a voluntary payment, or not).
The theoretical model explains when consumers make a voluntary payment. Social
preferences are incorporated into the utility function with a reciprocity payoff. This applies the
psychological game theory framework developed in Geanakoplos et al. (1989) and is based on the
seminal work of Rabin (1993) and Dufwenberg and Kirchsteiger (2004). The utility function of socially
minded individuals increases not only in their material payoffs but also in the psychological
payoffs which depend on the individuals’ kindness to others and beliefs about that.
Essentially, utility increases when the signs of kindness and beliefs about the
other’s kindness match. Two equilibria a negative reciprocity equilibrium (both playing nasty)
and a positive reciprocity equilibrium (both playing kind) are possible. Consumers will prefer to
make a voluntary payment once reciprocity gains outweigh the material loss of making the higher
payment. However, consumers and label have to be sufficiently motivated by reciprocity for this to
happen.
As concerns for reputation do not play a role in this context we conclude that the
premium exceeding the minimum price of $5 should be motivated by social preferences, e.g.
reciprocity.
Data analysis
Our data set goes back to the actual start of Magnatune’s service in September
2003 and contains all 14,367 album purchases from then until January 2005. Upon initial contact
Magnatune was interested in research collaboration and hence provided the data. Apart from the payment
information we also collected the purchase date, an encrypted identifier of the consumer, his/her
gender and country of residence, the artist, the music genre, the means of payment, the type
(download or CD) and whether an e-mail address was left or not.
In addition to these variables we computed the total amount of purchases and the
number of a respective purchase of a consumer. Moreover, we created a dummy variable for female
consumers, if no e-mail was left, if a CD was purchased, if PayPal was used and also various country
and genre dummies. The number of purchases has been fairly stable over time and there is only
minor fluctuation since October 2003.
The average payment for an album is $8.197, the median and mode of the
distribution are both $ 8. Only 14.5 percent of all purchases were at the required minimum of $5. No time
trend can be seen during the observation period. The data has been generated by 7,620 different
consumers; most of them (4,986) purchased only one album. On average consumers bought 1.86 albums. The
most albums a consumer purchased were 49. Payments made vary between the minimum of $5 and the
highest price possible.
Further interesting findings are: Consumers who leave an e-mail tend to spend more
on a purchase. The average payment is $8.23 when consumers left their e-mail, while it is $7.82
when consumers preferred to remain anonymous. The two-payment options credit card ($8.21) and
PayPal ($8.16) average very similar payments. CD buyers pay a fee ($4.97) for the physical costs of
material and shipping. Still, the sale of CDs ($8.93) generates a higher payment than the sale of
downloadable files ($8.17). About two thirds of sales come from the U.S. After correcting for
currency and GDP, differences between countries only minor variations in the size of payments can be
observed.
The average payment decreases with the total of purchases a consumer has made.
While the average payment for one-time purchases is $8.29, the average payment with more than four
purchases is only $8.06. There seems to be a decreasing individual trend line for frequent
consumers. However, the average payment of first-time buyers is stable around $8.26 and they are also
“joining” Magnatune at a stable rate over the months.
Conclusions
Our model explains the behavior of Magnatune consumers who consistently pay more
than the requested minimum price and even pay more on average than the recommended/default price.
We conclude that reputation effects cannot play a role in this environment. Therefore, social
preferences are the likely motivation of the consumers that make voluntary payments.
Reciprocity is the source of social preferences in the model. The comprehensive
and free pre-purchase access of Magnatune allows consumers to make an informed buying decision. This
is regarded as kind behavior by sufficiently socially-minded consumers and it triggers a kind
reaction. They make a voluntary payment, while self-interested consumers only pay the minimum. All
consumers do maximize their utility.
Our empirical analysis shows that the average payment is $8.20, far more than the
minimum of $5 and even higher than the recommended price of $8. A regression analysis shows that
several factors have an impact on the size of the payment. The purchase of a CD (instead of the
mere download) has a positive effect as well as some genres, e.g. “rock.” The number of purchase and
the anonymity of the consumer affect the payment negatively. The dummy for female consumers is not
significant.
Compared to a conventional online music store that charges a fixed price of for
instance $8 an album (and offers only limited sampling possibilities if at all), Magnatune
makes more visitors acquainted with its songs and thus turns more visitors of the site into
consumers; and they still pay more than the recommended price of $8.
Bottom line
Still, despite the positive results of voluntary contributions and variable
pricing for music, it is important to stress that a niche of the market has been analyzed and the
results for rather unknown artists cannot be easily applied to the mass market. Nevertheless, the open
contracts design of Magnatune should be regarded as a promising alternative to strictly DRM-based
stores. In an artist life-cycle model it suits artists in an early stage where they are not (yet)
well-known. Then, the experience good aspect of pre-purchase access and the higher exposure it
allows is relatively more important.
* Camerer, C. (2003): Behavioral game theory: Experiments in strategic interaction. Princeton
University Press, Princeton
* Dufwenberg, M. and G. Kirchsteiger, G. (2004): A theory of sequential reciprocity. Games and
Economic Behavior, 47, pp. 268-298
* Fehr, E.; Gächter, S.; Kirchsteiger, G. (1997): Reciprocity as a contract enforcement device:
Experimental evidence. Econometrica, 65, 833-860.
* Geanakopolos, J.; Pearce, D.; Staccetti, E. (1989): Psychological games and sequential
rationality. Games and Economic Behavior, 1, 60-79
* Magnatune: www.magnatune.com
* Rabin, M. (1993): Incorporating fairness into game-theory and economics. American Economic
Review, 83, 1281-1302.
* Regner, T. and Barria, J. A. (2005): Magnatune: Variable pricing for music”, mimeo, online
available at:
target="_blank">http://papers.ssrn.com/sol3/papers.cfm?abstract_id=721596
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
Mariana Bell: Neo Folk Singer Rocks the World
Author: admin29 Jan
Mariana Bell: Neo Folk Singer Rocks the World
By Mark Kirby,
width="300" height="199" hspace="2" vspace="2" border="0">
The best thing about singer songwriters who work the margins of the anti folk and
indie rock worlds are that the voice and vision of the artist can dress up in different styles and
dance about various genres of music, confounding the strait jacketed ears and identities of
marketing people and the Geeks whose tastes conform to their niches.
goddamn it, we need more of them. On her 5-song self titled EP, she weaves together musical
elements as similar and diverse as indie rock, anti folk, and whatever you call the electro-tinged music
that Fiona Apple and Bjork create.
hspace="2" vspace="2" border="0" align="left">
target="_blank">Mariana blends this eclectic mix of music as honestly and naturally as she sings. As
a young girl of six she began singing actual songs. “Some of my earliest memories of singing were
all over the map. In school choir, we sang standard songs, hymns, Christmas music, nothing too
interesting, but I remember loving being in the alto section, harmonizing to everything. I grew up
around heaps of sea shanties and old civil war songs, having been dear friends with
it sounds, ‘Waltzing Matilda’ is the first!”
Mariana Bell was also
exposed to different types of music in her home life. “My mom listened to Joan Baez in the car. In
fact, her version of ‘Imagine’ was the first one I ever heard, so you can imagine my surprise to
find out it was written by John Lennon! I had a baby-sitter who listened to Morrisey and The Smiths
while driving us to school. My family went to musicals, everything from Sondheim to Andrew Lloyd
Weber is ingrained in me, like it or not. My dad and I would play Paul McCartney songs together,
later I got into Dave Matthew’s Band, since he was around Virginia (where we lived).”
In junior high school, she started singing in the school choirs. Singing in these
groups was fun and exciting for young Ms. Bell. This is even more impressive since she could
barely read music. “In the alto section, I would stand next to very good singers and feel intimidated,”
she said, “which forced me to listen and learn my part on first hearing. To this day I could sing
you the entire alto section of Handel’s ‘Messiah’ from memory.” While enjoying this experience,
like any normal teen age gal, she wanted to rock out with her favorite tunes.
[Kirby] When did you start doing your own
music?
hspace="2" vspace="2" border="0" align="right">[Mariana Bell] Around sophomore year of
high school, I kept bugging my best friend Blake to play for me at open mic nights. After the 12th
night of backing me up in another Dave Matthews’ cover, he sweetly suggested “Why don’t you just
learn to play yourself?” I wrote my first song to my boyfriend at the time. After all, puppy love
compels us to do strange things.
Mariana Bell’s songs are certainly not about puppy love or the crass feelings
expressed in most of today’s so-called love songs. But the love song is the occupational hazzard of
the singer-songwriter and, thankfully, this hazzard she navigates very well.
The song “Scene from
the Movie” is a mature, off-kilter take on the breakup scenario: “It’s that scene from the
movie where the girl is in the phone booth crying/And the boy gets off the plane and comes back to
her . . . But movies aren’t real life are they? No one is saved like that/ No, movies aren’t real
life are they? ‘Cause then everyone would know how to act . . . ‘Cause then you would have known
what I needed you to say/ It’s that sad circumstance where I’m the girl in the phone booth crying/And
you don’t even know to come back to me.” The other songs take the same kind of off-kilter, yet
distinct, look at people and life. The music is also distinct. Each song has different flavors,
different settings for her voice.
hspace="2" vspace="2" border="0" align="left">The song
acoustic guitar groove, then kicks into herky-jerky beat that is passed between plucked strings,
bass, and drums, with Ms. Bell’s voice dancing back and forth off and on different notes and spaces.
This perfectly sets up the song, whose first lines are: “Clumsy again, stumbling through the
situation you thought you should have been walking on eggshells about / Foiled it again, ‘Cause you
thought your tongue would swell up and be big enough to stop your silly mouth/ But we had our doubts”
Then the music snaps into a country-tinged rock groove on the chorus: “And if you need a harbor
for your blame aim your bowsprit for shore / And you think if you’re a martyr maybe the sea would
let you go/ but she won’t let you go.” Throu!
ghout this song, and the other three, are great melodies and hooks that recall classic pop and
song writing.
“Vietnam” further
illustrates the width of her musical pallette. It starts out with low sonic grumbles and flighty
Kalimba (African thumb piano). Her voice floats through the sonic atmosphere. The guitar and drums
come in as pure rock color. The explosion dissipates, then the sounds coalesce into heart beat
electro percussion beats, drones, and rhythmic angelic vocalizations in the background as she sings:
“The politics of glamour see us / Through the weight of what is heinous / That is the dearth of
your pursuit/ But that is not what I would choose if I were you/ Still I think it’s in my head,
in my head/ I got it wrong / And what did the system make you do / You’d never dare ask for help /
I’m afraid the onus lies with you . . .” The sound she creates is like an imaginary reunion of Ani
DiFranco and her old band, King Crimson circa 1974.
[Kirby] What are your musical influences?
hspace="2" vspace="2" border="0" align="right">[Mariana Bell] I adore the great
singer-songwriters, the silky voice of Shawn Colvin, the jazziness of John Mayer, the incredible independent
lyrics and musicianship of Ani Difranco, the smooth sounds of Josh Rouse, the pain and truth of
Fiona Apple, the politics of Joni Mitchell or Bruce Cockburn. And Bob Dylan. However, lately I have
come to realize how strongly I require dynamic rhythms from the hip-hop and rock world. Nothing
is better than a good beat. I am also more and more interested in the electronic stylings and
arrangements of things.
[Kirby] What are the songs about?
[Mariana Bell] Of course, first and foremost, I write about my own life,
the people in it, and my experiences. My take on relationships past and present are always involved
in my song writing, but I try to keep the songs away from standard love-lost themes. I would not
go so far as to say my lyrics are overtly political, but I get frustrated with known injustice and
sing about it.
“I often place myself in other people’s shoes, imagining what they’re going
through, be it the aftermath of the tsunami or the emotions of a Vietnam Veteran and his family. Most
important, I do not discount the mundane, the every day, the unremarkable. Sometimes a simple sign
on the subway “You are subject to search” or a homeless person can spark an entire song.”
Mariana Bell has what
many people I have come across say is missing from much of the music these days - passion. Whether
it’s an old jazz record, a new jazz artist, rock from the kids down the street or the Cream reunion
concerts, good ole fashion honest passion is the thread running through all great music, be it
primitive or mind-boggling in its sophistication. Ms. Bell has that in spades.
vspace="2" border="0" align="right">When asked why she plays music she spits back, “Why not?! Life
is too short not to use all your senses. Music is aural, performance visual. The smell of the
candles in a room of people; the feel of the warm lights on your skin; the taste of a round of drinks
you bought with money from your own cd sales; that is living.”
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
VS-Planet Music Center Opens Holidays With Expanded Product Line and Credit Card
Author: admin29 Jan
VS-Planet Music Center Opens Holidays With Expanded Product Line and Credit
Card
width="225" height="104" hspace="2" vspace="2" border="0">
VS-Planet Music Center Expands Roland Product Line
VS-Planet, an
International on-line community dedicated to helping its members master Roland’s VS line of digital
audio workstations, is proud to announce that it has expanded its on-line store’s Roland product
line to include a full line of keyboard synthesizers featuring the complete Fantom line and Juno
Synths. 
hspace="2" vspace="2" border="0" align="right">The V-Drum Series and the Synths are available in both
the on-line VS-Planet Music Center and in
the White Mountain/VS-Planet Music Center located in Campton, NH. Boss digital recording products
will also be offered from the NH store only.
“In addition to our full line of Roland VS Digital Workstations we’ve openned up
the product line to include Roland Fantom and Juno keyboard synths, V-Drums, and Boss products
exclusively and will be focusing on providing excellent knowledgeable pre and post sales support for
all the Roland products we carry,” says Eddie Imbriano, Director of VS-Planet Operations.
“We have found through experience that the Roland user is a loyal customer and
Roland is a quality music manufacturer who dedicates themselves to pro customer sales and world class
service. We feel that, as proprietors of VS-Planet, a privately held virtual community and the
worlds largest Roland user group, our natural synergy has helped us foster an intimate relationship
with Roland US and that will help us to provide the best sales and service a notch above the rest.
Our goal is to become the one-stop shop for Roland pro-audio and musical products. We guarantee
we’ll match any price or financing promotion out there. Also every purchase at the music center
supports the artist services and music venue available to the VS-Planet community. It’s a win/win
situation that we’ve worked hard to develop and we’re excited to be able to provide this unique
new concept to our customers”
VS-Planet Music Center Extends Studio Projects Product Line
height="43" hspace="2" vspace="2" border="0" align="right">
it has expanded it’s Studio Projects product line to include the “C” Series: C1, C3, C4, and the
LSD stereo large condensor microphones. The “C” series is available now in both the on-line
VS-Planet Music Center and in the White Mountain/VS-Planet Music Center located in Campton, NH.
“Studio Projects mics have been a long time favorite of VS users since the
introduction of the C1 several years ago. When people first discovered the C1, They couldn’t believe
their ears. The C1 performed and sounded like microphones ten times its price,” says Paul Olito,
Director of VS-Planet Operations. “Studio Projects was a pioneer in bringing high sonic performance
gear to engineers on low budgets and it’s really exciting that we now represent the full product
line. We are confident that these products are the real deal and it’s a pleasure to offer them to our
VS-Planet user community.”
VS-Planet Platinum Credit Card Available In Time For The Holidays
VS-Planet was
proud to announce it’s VS-Planet
Platinum Credit Card enabling financing terms and special deferred financial promotions to it’s
Planeteer community members. Now you can apply on-line for the card and get instant approval!
VS-Planet Platinum card holders that place an order between Nov 1 and Dec 31, 2005
will be able to enjoy their gear for up to six months before making payment - no minimum payments
and no interest if paid within the promotion terms. In addition, card holders who make purchases
of $100 or more will be eligible to win a new Chameleon 7602 Mic-Pre.
Apply for your VS-Planet Platinum Card membership today
more information.
The VS-Planet Music
Center located in Campton, NH includes a 48 track digital commercial studio, a Sales Pro-Audio
boutique showroom that features Roland VS digital audio workstations, recording microphones,
headphones, recording devices, and a vast array of audio/musical accessories.
VS-Planet International is a wholly owned subsidiary and registered trademark of
Virtual Studio Systems, Inc.
(VSS), a privately held Corporation, founded in September 1999 and a member of NAMM since November
2000. The company’s goal is to promote musical creativity and deliver the finest solutions to
problems encountered by musicians, songwriters, and home and project studio engineers. For more
information about the VS-Planet consumer credit card and VS-Planet, call 888.732.1176 or send an email to
sales@vsplanet.com. Or visit their websites
at
target="_blank">http://www.virtualstudiosystems.com (VSS) and
target="_blank">http://www.vsplanet.com.
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
Fall In Australian CD Sales Disguises A Lack Of Choice
Author: admin29 Jan
Fall In Australian CD Sales Disguises A Lack Of Choice
by Alex Malik,
height="300"> |
The Australian Recording Industry Association has reported that for the first six months of 2005,
the volume of recorded music product shipments to retailers fell 7.54%, while their wholesale
value fell 11.82%. ARIA attributed the fall to a number of factors including the impact of charitable
appeals following the Boxing Day Tsunami, and subdued general retail activity.
According to ARIA: “The reduction in sales has generally been felt across all
format types including, for the first time, the music DVD format. This decline in music DVDs can be
attributed, at least in part, to market maturity and near-total DVD player penetration.”
While these factors may be relevant, a study of the new release patterns by the
larger Australian record companies found that the number of CD albums, singles and music DVDs
released by Australia’s largest record companies has diminished by 33% over the past 2 years. The number
of albums released diminished by nearly 37% for the 2 years, and the number of singles releases
diminished by 44% for the same period. Music DVD releases increased by 17% over the same period.
While the decrease in new releases was most pronounced from 2003 to 2004, in the first six months of
2005 there was a further decrease in major label new releases, especially new release singles.
This analysis was based on new release information included in ARIA’s weekly ARIA
Report, and provided by the 4 “major” record companies plus independent Festival Mushroom. The
analysis compared CD releases for the first 6 months of 2005, to the first 6 months of 2004 and the
first 6 months of 2003.
This analysis demonstrates a continuing major reason for the decline in sales in
the Australian market a reduction in choice for local consumers. When consumers can’t find the
CDs they look for other content like games or DVD films, which continue to sell heavily, and of
course they buy CDRs and download tracks from the Internet. Sales of digital music players also
continue to boom in Australia.
ARIA’s mid year sales figures also surprisingly do not include authorised digital
music sales. ARIA say: “The first half figures do not include digital music sales, including
emerging sales of Œmastertone’ ringtones. To date, comprehensive information regarding the value nd
(sic) volume of the digital music market has not been available to ARIA . Initial reports suggest
that this sector of the market is still relatively small.”
This is a surprising statement.
Digital download sales figures are included in international sales figures. For
example, RIAA in the US includes the value of digital singles and albums in their six monthly and
annual sales figures. Download sales don’t count towards the ARIA singles and albums chart, and
unlike the US and UK there are no stand-alone download charts.
Websites that make tracks available as authorised downloads should be central to
the business models for record companies in Australia and overseas. When record companies make
tracks available as paid downloads they don’t have to worry about artwork, packaging such as jewel
cases, physical delivery, or traditional retail concepts like sale or return. There is no reason why
many more tracks can’t be released by the majors as paid downloads even if in some cases there
is no equivalent physical CD released. A large number of digital download exclusives could be just
the thing to boost choice for consumers, while they help develop the existing authorised services
currently provided in Australia. These paid downloads could then be included in Australian new
release data and in the official sales figures.
While Australians await the introduction of an iTunes service in Australia (this
thing is starting to take on a messianic feel), record companies need to embrace new business
models and look towards the future. There is nothing to be gained by record companies and technology
companies battling over the minutia of licensing deals, while recording artists continue to lose
sales royalties, and music consumers continue to lose patience.
align=left>Provided by the MusicDish Network. Copyright
© Tag It 2005 - Republished with
Permission
INDIE NEWS BEAT - January 10, 2006 Edition
Author: admin29 Jan
INDIE NEWS BEAT
target="_blank">
January 10, 2006 Edition
* Kids In The Way Selected As Fuse And MySpace.com’s Next Big Video Music Star
* Gr8pop Announces Indiana Gregg’s UK Acoustic Tour
* Streetfighterz Release C And I 5 Trailor
* Urban/pop Artist Teej On National Tour With FYE
* Jennifer Richman Dedicates Herself To Helping The Disabled Through Music
* Audio Graphics Radio Listener Surveys Reach 50,000
* Livewire Recordings To Release ‘Sleepless In Seattle: The Birth Of Grunge’
* Agency’s Enticing Revolution Inciting AERIA To Release National Debut!
* Dawn Of Correction Rises To Mass Appeal
* UNSIGNED Announces The Winners In Its’ First Independent Artists Awards
* Upset Records To Tour Midwest: Featuring Artists From CO, KS, MO
target="_blank">Kids
In The Way Selected As Fuse And MySpace.com’s Next Big Video Music Star
height="199"
hspace="2" vspace="2" border="0">
fuse, the nation’s only music-centric, viewer-influenced television network
and
MySpace.com, the leading social networking and lifestyle portal, announced the winner of the fuse
On
Demand / MySpace contest. Beginning today,
target="_blank">Kids In The Way will receive extensive airplay and promotion on fuse
On Demand, fuse’s
popular VOD service, have their own page on fuse’s website and are featured on MySpace - making
them the next big video star.
Thousands of young musicians had the opportunity to go on to
- 3 minute
videos for consideration to a dedicated fuse group page on MySpace. Judges from fuse selected
four
finalist’s videos, posted them on the contest site for fans to vote on, and the MySpace community
chose the winner.
The four finalists were Kids In the Way from Indianapolis, Indiana,
Peppermint
Creeps from Los Angeles, California, Modern Girlfriends from Phoenix, Arizona, and The Cardinal
Sin
from Minneapolis, Minnesota.
Straight from Indianapolis, Indiana, Kids in the Way represent a new
generation of
artists whose desire is to re-establish the integrity of rock. The band has made strides towards
this goal by releasing their sophomore album on Flicker Records, “Apparitions of Melody.”
“Kids In the Way are a perfect example of why this promotion was created,”
commented Joe Glennon, fuse’s Senior Vice President of Distribution. “In addition to being the
must stop
for musicians and celebrities, fuse is known for discovering emerging bands and providing a
platform for them to play their music. This promotion empowered musicians to submit their videos
and
fans to participate and vote on who they wanted to see as the next big music star - we’re really
excited about having Kids In The Way premiere their video on fuse On Demand and look forward to
extending this opportunity to other bands who are looking to take the next step - to gain vital
exposure
on the most edge-pushing and music-centric brand in music television - fuse.”
Source:
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BORDER="0">
target="_blank">Gr8pop Announces Indiana Gregg’s UK Acoustic Tour
height="200" hspace="2" vspace="2" border="0" align="right">Scottish label Gr8pop ltd.
announces
Acoustic Tour which
begins Thursday 29th December 2005 in Edinburgh followed by three gigs in Glasgow on the 30th to
kick off the January tour of the rest of the country.
The rising pop star is giving her fans a post-Christmas treat by playing
free gigs
in the UK. Gr8pop representative Graham Marr announced 11 dates which will take place all over
the UK beginning in Scotland, then Newcastle, Leeds, Manchester and York. “The tour has been
scheduled in several UK coffee houses including a number of Starbucks venus in cities throughout
the
country,” says Marr.
Gr8pop signed a 1million pound deal for Gregg’s debut in August 2005 for the
world-wide license of
target="_blank">“Something like me” which will be distributed by RTD/Universal in
February 2006.
Gregg’s first single is scheduled for release February 13th followed by the
album
release of ‘Something like me’. Gr8pop has already recorded three promo videos for singles ‘Love
is Blind’, ‘Sweet Things’ and ‘Oh Me Oh My’.
Source:
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BORDER="0">
target="_blank">Streetfighterz Release C And I 5 Trailor
width="200"
height="187" hspace="2" vspace="2" border="0" align="right">On January 4th, 2006,
Streetfighterz
Entertainment released “American Beauty” on their C and I 5 DVD Trailor.
Two years in the making, wrecking streets since 1999, they haven’t stopped
and
they never will.
Streetfighterz Entertainment released the C and I 5 DVD trailor featuring
pre-production track “American Beauty” by St. Louis based alternative rock band
“The video does not represent a 1/3 of what’s in the film; it gives you a
brief
overview” says Streetfighterz Entertainment. We have been traveling from Toronto, Canada to New
Orleans, Louisiana. Streetfighterz has taken it to the streets harder than ever before.
With all the street madness you can handle, along with some off the road
action,
you get a look into the life at Party Cove on the Lake of the Ozarks. From Jay E’s (Nelly
Producer)
1.4 million dollar yacht, along with an in depth look of his crib and luxuries.
Streetfighterz Entertainment takes you along with them to Holly Springs and
Jackson Mississippi for a taste of the dirty south. You will see what the most dangerous areas in
the
city of St. Louis and East St. Louis has to offer as the Streetfighterz rip through unsuspecting
ghettos and give a show of a lifetime.
The DVD is a 2-disc set with tons of bonus footage along with an in depth
interview, with the Streetfighterz to set the record straight. Find out who they are, where they
come from
and where they are heading.
“Streetfighterz Entertainment made an excellent choice in choosing “American
Beauty” for their C and I 5 DVD trailor.” Says Field Of Grey management company Namaste’
International.
With forthcoming press soon to be released, we are gearing up for an explosive year with Field Of
Grey.
Source:
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BORDER="0">
target="_blank">Urban/pop Artist Teej On National Tour With FYE
height="255"
hspace="2" vspace="2" border="0" align="right">Upstate NY hip-hop/urban pop artist
with the
conglomerate Transworld Entertainment’s FYE (for your entertainment) chains this year. Teej was a
former
member of the group, “The Kast.” He later broke away from the boy band image that has dissipated
and has released his first solo release entitled “Schenectady.” He has already sold 2000 copies
in
the month of December 2005 alone. His fan base has been growing exponentially since the release
of his single.
Teej was signed to the Afrazmusic Corp, a publicity and artist development
company, in early 2005. They have prepared to tour the country at the top of 2006. His songs AE
Girl and
his single Schenectady have made quite a buzz within the industry and the street to date. He has
been in several negotiations with Sony BMG’s Evergirl tour as well as talks of piggyback
marketing
his song with the worldwide clothing company AE. His EP has the sound of a fresh new
acoustic/rap,
which has been likened to that of a Caucasian Wyclef. The CD covers more than the hip-hop lovers’
interest. His remake of Bob Marley’s Wait in vain adds a nice touch of roundness that caters to
his popular audience’s tastes. Teej has recently procured a comprehensive digital downloads
package
with services such as Itunes, Sony Connect all the way to Starbucks and digital jukeboxes
available world-wide.
Source:
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BORDER="0">
target="_blank">Jennifer Richman Dedicates Herself To Helping The Disabled Through
Music - Debut CD Release And Lecture
This Month
height="200"
hspace="2" vspace="2" border="0" align="right">Jennifer Richman, a Brooklyn, NY native debuts
her
record, “Flowers of
Gold” this January. “Flowers of Gold” is commanding international attention via
Internet sites such as
http://www.myspace.com/jenniferrichman and radio programs such as HAIR NATION Station 23, SIRRUS
SATELITE RADIO Rock’n Roll Psycho Awards, hosted by Psycho Steve.
Jennifer’s music is widely appreciated for its inspirational lyrics that are
personally resonating with fans. “On this, her debut, Jennifer has her feet firmly planted in her
own
unique style and shows diversityŠHer soft, soothing voice leads each track accompanied by
remarkable songwriting and a gift for drawing you in with each word spoken. “An amazing
collection of pop
rock songs for the masses” - Independents Only. Don’t miss this opportunity to experience her
live
performance of Flowers of Gold with an all-star band at the CD Release Party at The Cutting Room,
NYC on Tuesday, January 24th 9PM.
What makes Jennifer unique as an artist and as an individual is the amount
of time
and passion she has dedicated to helping the disabled through music. As an occupational
therapist, she continues to treat and help hundreds of individuals achieve an improved way of
life through
music performance and music education. She is Music Director at two treatment clinics in NYC and
helps rehabilitate teenage children with moderate to severe autism in a public school in
Brooklyn.
Jennifer Richman is scheduled to give a lecture about the benefits of music in rehabilitation at
the Occupational Therapy Department of Columbia University on January 30th, 2006.
Source:
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BORDER="0">
target="_blank">Audio
Graphics Radio Listener Surveys Reach 50,000
height="30"
hspace="2" vspace="2" border="0">
The online radio audience is coming into focus through
completion of this
34th survey, more than 50,000 persons have participated.
RRadio Network Survey 34 shows that the internet is replacing the more
traditional
method of looking up phone numbers. When asked if they use the phone book, or look up phone
numbers online, nearly 60% of 1854 online radio listeners replied that they “look up phone
numbers
online.” There is little variation in response between gender or age groups.
Time Spent, Each Listening Session
Comparing two RRadio Network surveys (from July 5, 2003 and this Survey 34),
there
is an 8.4% drop in persons listening to online radio for 3+ hours each session. Also, 7% fewer
persons listen between 1-3 hours each time they tune in.
38.9% of Survey 34 respondents say they listen to online radio for more than
3
hours each listening session.
38.9% - 3 hour +
19.3% - Listen 2-3 hours Each Listening Session
26.7% - 1-2 hours
14% - Less than 1 hour
Audience Predictions, and Their Accuracy
In March 2005, RRadio Network asked what respondents anticipated listening
to most
in the next twelve months. That survey included a list of six choices: Internet radio, broadcast
radio, portable MP3 player, satellite radio, cable music-only channels, and “other.”
Of interest are the numbers dealing with listening to broadcast and
satellite
radio. In March 2005, 7.9% of Survey 29 respondents thought they would be listening mostly to
satellite radio in one year. Only 3.2% reported that is the case today.
Back then, only 15.6% thought broadcast radio would be “most listened to”
after
one year. Yet, Survey 34 shows 25.1% of respondents are still listening mostly to broadcast
radio.
Source:
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BORDER="0">
target="_blank">Livewire Recordings To Release ‘Sleepless In Seattle: The Birth Of
Grunge’ - Rare 20-Track Compilation
In Stores February 7th
width="185"
height="185" hspace="2" vspace="2" border="0" align="right">Livewire Recordings announced
today the
February 7, 2006 release of
target="_blank">“Sleepless in Seattle: The Birth of Grunge,” a compilation of 20
rare tracks
from some of the most influential bands to come out of the Seattle scene.
Chronicling the beginnings of Seattle’s underground rock movement from the
mid 80s
to early 90s, the album features seminal recordings from the pioneers of the grunge-era movement,
including Green River, The Melvins, Malfunkshun, Screaming Trees, Mudhoney, Babes in Toyland,
Tad, Skin Yard, The Gits, 7 Year Bitch and the Supersuckers, among many others. Widely considered
the
first grunge band, Green River (featuring Pearl Jam’s Stone Gossard and Jeff Ament, and
Mudhoney’s Mark Arm) released their debut album “Come on Down” in 1985, giving birth to a new
movement in
music that would continue for over a decade.
Executive produced by Colin Cobb, founder and president of Livewire
Recordings and
produced by Grammy-nominated producer Ted Myers (Nuggets, Troubadours of British Folk) as well as
Clark Humphrey (”The Real Seattle Music Story”), famed journalist and Seattle music historian.
“Sleepless in Seattle: The Birth of Grunge” will also feature a 16-page booklet of liner notes
penned by Humphrey, detailing the history of the Seattle music scene from the mid 80s to early
90s.
“These bands are the unsung heroes,” said Cobb. “Although they didn’t become
multi-platinum megastars, they went on to influence and form some of the biggest, chart topping
groups
in music history. As we approach the 20th anniversary of the birth of grunge music, we are
thrilled to bring this significant historical compilation, which includes many bands whose music
has not
been made available for years, to fans everywhere. This project was a labor of love.”
Source:
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BORDER="0">
target="_blank">Agency’s Enticing Revolution Inciting AERIA To Release National
Debut!
height="201"
hspace="2" vspace="2" border="0" align="right">AERIA Records announces the upcoming self
titled
debut of AERIA Recording Artists
target="_blank">Agency
on March 7, 2005
Formed from the ashes of other leading area acts such as Brian Saint and the
Sinners, Virginia, Shiva Copal, Broken Atlantic, and Lifesite, the artists formerly known as
Republic
are comprised of Brain Saint on lead vocals and acoustic guitar, Michael Scotto on lead guitar
and
backing vocals, Mike Thompson on bass, and Joseph Savio on drums.
The band was recently nominated for five Asbury Park Music Awards including:
Top
Rock Band, Top Pop Band, Top Male Vocalist, Top Bassist, and Top Guitarist.
“AERIA is extremely excited about this band. They deliver a transcendental,
almost
evangelical live experience and their debut recording conveys the magnitude of their songs and
sound quite well. We believe Agency is going to take the music world by storm”, says Colie Brice,
President of AERIA Records.
Recorded at Retromedia Studios in Red Bank, New Jersey and The Hunt in
Millstone,
New Jersey, the album is co produced by Agency, Mark Prescott, and Eric Bennet and being mastered
by 3 time GRAMMY winner Tom Ruff.
Source:
target="_blank">
BORDER="0">
target="_blank">Dawn
Of Correction Rises To Mass Appeal
width="200"
height="200" hspace="2" vspace="2" border="0" align="right">Heavy metal rockers
whose music has
been described as “In your face, loud aggressive rock and roll with a foundation of old metal
roots, such as Black Sabbath, Slayer and Pantera,” is turning the rock world on its ear with the
release of their new 5-track CD Swingin’ The Chain. The band recently signed a management deal
with
Praying Mantis Entertainment, headed by music industry veterans Steven Cermanski and Chris
Natalini.
D.O.C.’s Swingin’ The Chain has been receiving rave reviews and heavy airplay worldwide?
“Absolutely excellent!!!” - Autopsy Report Heavy Metal Radio
“It has a refreshing musical sense to it?a hybrid mix of different metal
influences. The CD is killer!!!” - Audio Aggression Radio
“Heavy metal with an old school groove! D.O.C. has managed to unleash just
that
with this EP!” - Dark Cloud Radio
“This CD is badass!!!” - Tommy Conwell, 94-WYSP, Philadelphia
Dawn Of Correction consists of Jeremy Tillotson (vocals), Mike Radliff
(guitars),
Rich Tornetta (drums) and Ech (bass). “The band was formed because the four of us live and
breathe
music,” singer Jeremy Tillotson adamantly decrees, “not to set any trends?strictly for the love
of music!”
Source:
target="_blank">
BORDER="0">
target="_blank">UNSIGNED Announces The Winners In Its’ First Independent Artists
Awards
width="215"
height="125" hspace="2" vspace="2" border="0" align="right">
target="_blank">UNSIGNED Music Magazine announced the winners in its’ first annual
Independent
Artists Awards. The nominations were issued in November and during the month of December the
public voted for the nominees in each category.
After over 1700 votes from around the world the winning nominees in each
category
are as follows.
Male artist of the Year Lanky (www.lankymusic.com)
Female artist of the Year Rebekah Jordan (www.rebekahjordanmusic.com)
Video of the Year Under My Skin by ellee ven (www.elleeven.com)
Song of the Year Gone by Ryan Waters (www.ryanwatersmusic.com)
Album of the Year Public Symphony by Public Symphony (www.publicsymphony.com)
Group of the Year Public Symphony (www.publicsymphony.com)
“We were very pleased with the number of votes received”, said Ken Hamlett,
publisher of UNSIGNED “but more importantly the awards proved that all of the artists nominated
have
very strong fan bases and loyal followings”.
Each winner will receive an award to place on his/her website, plus
recognition in
the January issue of UNSIGNED.
Source:
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BORDER="0">
target="_blank">Upset
Records To Tour Midwest: Featuring Artists From CO, KS, MO
height="206" hspace="2" vspace="2" border="0" align="right">
hottest
hip-hop/rap label to come out the Midwest has begun setting dates for their 2006 Upset Records
Midwest
Tour. The tour kick-off date is set for 2/4/06 and will be held at The Granada Theater in
Lawrence
KS. The Granada Theater is located in between 10th and 11th on Massachusetts in Lawrence, KS
66044. This theater, originally opened in 1977, has been home to some very influential acts and
the
family of Upset recording artists are no exception. Doors open at 8pm. Show starts at 9pm. This
is an
18+ show and tickets are $15 at the door on the night of the show.
Being featured on the tour are many artists from the Midwest area. Doe and
Ray
Ray, the Upset headliners of the tour represent Gloc 9 and Denver, CO. Doe however, is originally
from Topeka, KS. Other artists representing Colorado include Nykeloc and Young Doe who are both
featured on many Upset tracks. Kansas reps include such big names as Dope (aka D-Dot), D-Loak,
Evil
Loc, St. Nick and Young Dice. In addition, Dirty Work will be representing Kansas City, Missouri.
The 2006 Upset Records Midwest Tour will hit not only Topeka and Lawrence,
but
will be stopping in cities all throughout Kansas, including Manhattan and others. The tour will
also
hit Missouri cities such as Columbia, Kansas City, St. Louis and more. Denver, Colorado Springs,
Pueblo and Ft. Collins stops are also planned throughout Colorado. Along with every tour stop
Upset
Records will do in-store promotions at local record stores. CD signings, appearances, meet and
greets with the artists and performances will be part of these in-store stops.
Source:
target="_blank">
BORDER="0">
align=left>Provided by the
target="_blank">MusicDish Network. Copyright
© Tag It 2005 -
Republished wit