B2N: Forcing Indie Music On Major Radio « Result #5 on Mar 14, 2007, 7:21pm »
A2IM Announces Historic Agreement With Commercial Radio To Insitute "Rules Of Engagement" & An "Indie Music Content Commitment"
The American Association of Independent Music (A2IM) has reached an historic understanding in principle with CBS, Citadel, Clear Channel and Entercom. This voluntary arrangement between the radio groups and A2IM establishes not only a set of Radio Rules of Engagement between the independent record labels and commercial radio but also, for the first time in the United States, these radio groups have agreed to an Independent Music Content Commitment that equates to 8,400 half-hour blocks of airtime dedicated to Independent music. This is a first-of-its-kind effort from corporate radio groups to acknowledge the strength and importance of the independent music sector's 30% marketshare. This is the result of a series of meetings and exchanges with first the FCC, and later the radio groups, initiated in June 2006 by A2IM - the trade org that represents the interests of the independent music sector in the U.S. (Radio Rules of Engagement follow below).
Details on the roll-out of the independent music campaign will be forthcoming as each radio group identifies the way in which to best serve their respective markets. This monumental effort received active support and endorsement from the Future of Music Coalition (FMC), American Federation of Television and Radio Artists (AFTRA), American Federation of Independent Music (AFIM), Recording Artists Coalition (RAC), the Music Managers' Forum (MMF) and the National Academy of Recording Arts & Sciences (NARAS) in an example of the music community rallying its voice to benefit all its members.
"We have taken a free-market approach to fixing an imbalance in the marketplace - a self-correction without government interference," says Peter Gordon, A2IM board member and lead negotiator in this matter. "The independent sector is vibrant and the radio group has exhibited a forward thinking approach by supporting new ideas in a climate of uncertainty. We have emerged from a truly remarkable negotiation where both sides have been motivated to do the right things for the right reasons to benefit the listeners. This radio group is embracing a creative solution to a difficult problem to the benefit of all and they should be commended."
In June of 2006, following the first of the "payola" settlements reached by then-Attorney General of New York, Eliot Spitzer and the major record labels, A2IM urged FCC Commissioners to consider the implementation of acknowledged and transparent practices to define the parameters of the relationships between record labels and radio. FCC Commissioner Jonathan Adelstein met with A2im, then paired them with the radio group to explore ways to work together. The radio consortium and A2IM reached agreement on a set of "Radio Rules of Engagement," the main tenants of which focus on equal access and transparency. As talks progressed, the concept of "indie-dedicated programming" emerged as the first step towards addressing the relative absence of independent music currently on the airwaves in proportion to the independent marketshare. Lead by CBS and endorsed by all the radio groups, this seven million dollar content commitment is a good-faith demonstration of radio's commitment to this music.
RADIO RULES OF ENGAGEMENT
1. Radio should establish, and appropriately publicize, clear and non-discriminatory procedures for music submissions and access to radio station music programmers (to the extent any such access is provided).
2. Radio should not be allowed to sell or barter access to its music programmers.
3. Radio should not form relationships with any music companies, independent promotion companies, or other parties which provide for exclusive access to radio station music programmers, nor should Radio restrict access to its music programmers to those who contribute promotional consideration.
4. Radio should not exclude independent promotion companies, as a class, from gaining access to music programmers except for independent promotion companies which are compensated based upon playlist additions or increased spins.
5. Radio shall not ask for or expect, either directly or indirectly, any quid pro quo to play music, including but not limited to: a. Any promotional considerations including cash and prizes b. Local concert appearances c. Exclusive relationships with recording artists
6. Radio (individual stations or their parent companies) shall not act in a coercive manner, make or imply threats to withhold or reduce airplay or make or imply promises to commence or increase airplay, in connection with the solicitation of any promotional consideration, or any promotional consideration promised or given to competitor stations, including concert appearances and artist "exclusives."
7. Disclosure: All cash and non-cash consideration (above a reasonable threshold) made by labels, artists, or their agents shall be confirmed in writing and shall be subject to internal tracking controls, with the information gathered as a result of these controls available to the FCC upon its request.
8. Contest prize recipients to the extent permitted by applicable law must be identified publicly, and confirmed as not employees of the radio station or members of their immediate families or households.
This proposal was drafted with input from music companies, radio programmers and promotion executives. It has also been endorsed by the following organizations to date:
* American Federation of Musicians (AFofM) * American Federation of Television and Radio Artists (AFTRA) * Future of Music Coalition (FMC) * Music Managers' Forum (MMF) * National Association of Recording Arts & Sciences (NARAS) * Recording Artists Coalition (RAC)
US Airplay Victory A Breakthrough For Independent « Result #6 on Mar 14, 2007, 7:20pm »
US Airplay Victory A Breakthrough For Independent Music
AIM, the UK's Association of Independent Music, has extended its congratulations to sister organisation, A2IM (the American Association of Independent Music) on its landmark agreement to secure guaranteed US airtime for independent music with four major US radio companies (Clear Channel Communications, CBS Radio, Entercom Communications and Citadel Broadcasting).
As part of a move to resolve claims that they accepted cash and other incentives in exchange for playing songs — a practice popularly known as payola – the four radio companies have agreed to broadcast the equivalent of 8,400 half-hour segments of music from artists signed to independent labels.
This is in addition to a separate settlement with the Federal Communications Commission in which the four radio station owners agreed to pay a total of $12.5 million to resolve "payola" claims.
Said Alison Wenham, Chairman and Chief Executive, AIM, President, World Independent Network, "It is great news for A2IM and the US independent community. They have shown their ability to positively influence US market conditions. Having said that, it must be also be said that radio is in a parlous state in the US, and listeners want more colour, range and diversity. Hopefully this agreement will go some way towards delivering better playlists."
Commented Martin Goldschmidt, Board Member, AIM & IMPALA and MD, Cooking Vinyl, "This is a historic victory for the independent community. We do not realise how lucky we are in the UK, having BBC Radio 1 and 2. In the US commercial radio has been closed, through various means of corruption (read the book Hitman) to independent labels for as long as I have been working in this business. Now we have got some payback for the injustice and a foot in the door. It's all part of our mission to level the playing field."
AIM joins in the celebration of this deal to benefit independent artists and labels as a show of solidarity to the global community of independent music trade bodies which includes A2IM as well as the World Independent Network (WIN), a global trade body with trade association members from around the world, IMPALA (European Independent Music Companies Association), UPFI (France), CIRPA (Canada) VUT (Germany), ILCJ (Japan), SOM (Sweden), Visom (Brazil), UFI (Spain), IMNZ (New Zealand) and AIR (Australia).
These trade bodies have not only shown the benefits to member companies in regards to resource sharing, education and political representation, but also the collective muscle displayed in disputes and negotiations with the likes of MTV and iTunes and most recently in the European Court's decision to overturn EC approval of the Sony BMG merger. A2IM's recent victory is but the latest step in the essential ongoing process to ensure fair and equitable deals for independent music worldwide.
Pump Audio, Photobucket Bring Legal, Indie Music T « Result #7 on Mar 14, 2007, 7:18pm »
PUMP AUDIO AND PHOTOBUCKET DELIVER LEGAL MUSIC FOR ONLINE VIDEO CREATIONS
Tens of millions of consumers gain access to copyright-cleared independent music to synchronize with their personal media on the Internet
Hudson Valley, NY – March 6, 2007 – Pump Audio, the leading provider of quality independent music to content creators globally, today announced that it has reached an agreement with Photobucket to provide copyright-cleared, independent music to the tens of millions of Photobucket users who create and share remixes of their photos and videos using the Adobe® web-based video remix technology integrated on Photobucket’s site. Photobucket users can now easily add music from Pump Audio to their mashups.
Photobucket is the online personal media company where over 35 million people create, manage and share their personal digital media, and is the third largest video hosting site behind YouTube and MySpace. Pump Audio provides a proven, legal music solution with original songs perfectly suited for synchronizing to online productions. Photobucket has licensed hundreds of songs across dozens of genres from Pump Audio’s catalog of more than 75,000 tracks.
“Music truly brings a video creation to life, and it was important to us that our users be able to incorporate music into their remixes,” said Alex Welch, CEO, Photobucket. “Pump Audio’s independent music solution helps Photobucket offer our users a wide selection of music that does not violate copyright infringement laws.”
Photobucket recently launched a web-based video remix and editing service, powered by Adobe Systems Incorporated. Using this remix service, Photobucket users can combine images, videos, text, and music provided by Pump Audio to create content mashups from their Photobucket albums, without requiring any additional downloads.
“User generated content, such as photo slideshows and video mashups, has created a significant opportunity for independent music,” said Steve Ellis, founder and CEO, Pump Audio. “Photobucket is an innovator in helping consumers bring their personal media to life, and shares our position that personal media communities can respect copyright law and also expose their users to high-quality independent music.”
Unlike stock music, Pump Audio’s catalog consists of real songs by thousands of independent artists worldwide. Because Pump Audio works directly with independent artists, it can offer a unique licensing system for managing and delivering the rights to use tracks in online productions. Pump Audio’s licensing model already has attracted major media customers, including MTV Networks, NBC Studios, HBO, New Line Cinema and advertising agency Saatchi & Saatchi. Under its artist-friendly system, Pump Audio splits licensing revenues with musicians, and the artists retain complete ownership over their music.
Working together, Pump Audio and Photobucket also are creating a new venue for participating artists to gain additional exposure to Photobucket’s massive user base. Pump Audio artists will receive a visual credit with information about the music being used in Photobucket mashups, creating a new promotional opportunity to directly reach potential fans. Photobucket users can embed their mashups into any web page, blog, or social network profile, and also share with family and friends, so artists will have the potential for broad exposure.
About Pump Audio Pump Audio licenses the world's best independent music to content creators worldwide. Founded in 2001, Pump Audio has established itself as a leading provider of digital music for TV and advertising producers. Now Pump Audio is becoming the soundtrack of the Internet, opening Web access to its catalog of tens of thousands of songs so creators of all types can build music into their video and interactive productions. With Pump Audio, artists can license their music into productions without giving up any ownership, while content creators can discover new music ready for use. Based in the Hudson Valley, Pump Audio can be found at http://www.pumpaudio.com.
The Firebox Plus Deck Cassette Converter is a $130 cassette deck for your PC that comes with software for easily converting your tapes to MP3s (the deck even has auto-reverse).
Belkin TuneStudio for the iPod Video « Result #9 on Jan 12, 2007, 2:19pm »
Belkin TuneStudio for the iPod Video
Believe it or not, but you'll actually be able to create and mix high quality digital recordings directly onto your iPod. How? With Belkin's upcoming TuneStudio for the iPod Video. According to the company, "this mixer allows the input of up to four different instruments or audio sources, and records the audio onto your iPod for instant playback." And if you're a podcaster, like us at PC Magazine and Gearlog, you can also use the mixer to record your shows! The launch date is summer 2007 at a suggested retail price of $179.99
Unsigned band set to crash charts « Result #10 on Jan 11, 2007, 12:32pm »
By Ian Youngs Entertainment reporter, BBC News website
Essex rock band Koopa could become the first unsigned group to land a UK top 40 hit thanks to new chart rules.
Their download-only single Blag, Steal & Borrow is on course to enter Sunday's top 40, early sales figures suggest.
Chart rules were changed at the start of January to count all digital single sales, even if there is no CD version.
"It's fantastic that a band like us can have an opportunity to put ourselves into the top 30 with Razorlight and U2," manager Gary Raymond told the BBC.
Until 1 January, an artist needed to release singles on CD or another physical format - and therefore have a record deal - to qualify for the chart.
But bands who sell songs themselves through approved download services are now eligible. It's not as easy as people think, even with the new rules - they need to be genuine bona fide sales Joe Murphy-Koopa
Koopa were at number 17 in the unofficial midweek chart - based on Monday's sales - and are expected to end up in the lower half of this week's top 40.
"With the new rules, it does give hope for genuine talent," singer and bassist Joe Murphy said.
"You don't need to be dictated to by the big boys, by the record labels.
"You can release a song and if you've got the fanbase and people buy it, you'll get into the charts - it's great."
Other unsigned bands with healthy followings were likely to follow suit, he said.
"I wouldn't be surprised if we see a few more but it would be great if we could be the first."
Gig veterans
Koopa, from Colchester, have been together for seven years in various forms and have built up a fanbase on the internet and on the live circuit.
They have played almost 500 gigs in the past three years, including a headline show at the Mean Fiddler in London last summer.
Record labels have already contacted them on the strength of this week's chart showing.
"It's absolutely out of this world and fingers crossed it could be the start of a good career for us," Murphy said.
"If someone comes along and gives us an offer, we'll talk to them.
There's no point being an internet band - you've got to be a live band and you've got to be able to hack it Gary Raymond-Manager
"But it depends whether we need it. If we can get enough exposure and get in the top 40 by the end of the week, do we necessarily need a large label?
"Probably nowadays, no you don't. We'll get the exposure ourselves just from being in the charts."
Their success is a result of years of hard work, he said.
"It's not easy to get people buying, and we've done quite well because we're quite big on things like MySpace so we've been able to advertise ourselves via the internet.
"But it's not as easy as people think, even with the new rules. They need to be genuine bona fide sales."
Mobile downloads
The live experience is just as important as sites like MySpace, according to Mr Raymond.
"There's no point being an internet band. You've got to be a live band and you've got to be able to hack it."
The bulk of Koopa's followers are teenagers who are buying the single using a mobile phone rather than an online store, Mr Raymond believes.
It costs £1.50 to send a text message and receive a code to download the song on a computer.
"The average 16-year-old doesn't have a credit card but they've got a mobile phone," the manager explains.
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