Tuesday, January 31, 2012

Afghan academy seeks to ease pain of war with music

KABUL (Reuters) - A cacophony ranging from Asian string instruments to the delicate cadences of classical piano pours out of a two-storey building in central Kabul.

Here, at Afghanistan's sole music academy, students are taught music with the hope it will bring comfort in the face of war and poverty, bringing back cellos and violins to revive a rich musical legacy disrupted by decades of violence and suppression.

"We are committed to build ruined lives through music, given its healing power," Ahmad Sarmast, head of the Afghanistan National Institute of Music, told Reuters.

The trumpet player turned musicologist set up the school two years ago on the site of the School of Fine Arts' music department, which was forced to shut in the early 1990s as civil war engulfed the country following a decade-long Soviet occupation.

The austere Taliban, who took over in 1996, then banned music outright, something unthinkable in today's Afghanistan, where cafes and cars blast Indian love songs and the tunes of 1970s Afghan crooner Ahmad Zahir.

But while the institute's 140 full-time pupils have little recollection of that time, they still face hardships in their musical pursuits.

Half the students are orphans or street children, with the rest selected after a music exam.

All are passionate about music, said voice and flute teacher Mashal Arman, daughter of famed Afghan musician Hossein, whose black-and-white photographs grace the school's hall.

"They are so thirsty for music and art, it is fabulous to see the country finally changing," said Arman, whose accent hints at her connection to Switzerland, where she fled with her family more than 20 years ago.

Sarmast said he had also set a quota that a third of students must be girls -- a gesture towards the plight of Afghan women, who still struggle for basic rights such as education after 30 years of war and harsh Taliban rule.

All students receive full scholarships to attend the school, which operates under the Ministry of Education with significant foreign funding, notably from Britain, Germany and Denmark. They are awarded internationally recognized music diplomas.

"The return of music is one of the most positive changes in post-Taliban Afghanistan," said Sarmast, who studied in Moscow and Australia before returning to Afghanistan in 2008 with a mission to establish the academy.

NO INSTRUMENTS

In one of the school's carpeted rehearsal rooms, recently soundproofed with Afghan timber, 14-year-old orphan Fatima strums a sitar, conjuring up sounds familiar to Afghan children, who adore Bollywood films and their music.

"I was encouraged to come here and I am happy for it. I love playing," Fatima said, adjusting the pink cap covering her hair that she uses instead of a headscarf.

Her Indian teacher, Irfan Khan, one of 16 foreign instructors at the school, watches approvingly but laments the poverty that prevents students from owning instruments, hindering their progress.

"We are reviving music for those who have been deprived," he said. "However, many of the students do not come from affluent families and are only able to practice here."

At $600, a new saxophone is more than $100 higher than an average worker's annual salary, according to Finance Ministry estimates.

For star classical piano pupil Sayed Elham, a jovial 13-year-old with a passion for Chopin, the $3,000 needed to trade his family's Casio keyboard for a full-size piano is nothing but a dream.

"I want our government to improve the state of Afghan music," he said after performing Chopin's Nocturne for some fellow students, who gathered to hear him rehearse.

Despite the school's success -- it takes on an extra 80 or so students for its two-month winter academy and is building a 300-seat auditorium and separate building for rehearsing -- the future for musicians in Afghanistan is bleak.

Rights taken for granted by musicians in the West, such as copyright and royalties, do not exist, and most recording and broadcasting fees must be paid out of the musician's pocket.

In addition, there are scant prospects of jobs.

"We have a long way to go to make sure that our graduates are getting just remuneration and their rights protected," Sarmast said.

But he now hopes his graduates will form Afghanistan's first national symphony orchestra, a vision already in the works.

(Editing by Elaine Lies and Robert Birsel)


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Adele joins "Titanic" in her 16-week chart reign

LOS ANGELES (Reuters) - British singer Adele's multi-platinum selling album "21" scored its 16th week at No. 1 on the Billboard 200 album chart on Wednesday, entering an elite list of only five albums to cross the that mark in the past 20 years.

"21," which has been selling more than 100,000 copies each week for 33 weeks, joined the ranks of the soundtrack to the 1997 box-office phenomenon "Titanic," Whitney Houston's soundtrack to 1992 film, "The Bodyguard," country crooner Garth Brooks' "Ropin' The Wind" and Billy Ray Cyrus' "Some Gave All," also in 1992, all of which crossed 16 weeks at No. 1.

Recently disbanded Christian rock group David Crowder Band made the highest chart debut this week at No. 2 with new album "Give Us Rest," selling 50,000 copies.

Irish alternative rock band Snow Patrol debuted their sixth studio album, "Fallen Empires," at No. 5, following Black Keys' "El Camino" and Drake's "Take Care."

Adele also snatched the top spot on the Digital Songs chart with "Set Fire to the Rain" from last week's No. 1, Jason Mraz's "I Won't Give Up," which fell to No. 9.

This week saw low sales on the album chart, as the bottom three CDs on the Top 10 list sold less than 20,000 copies each, the first time in Nielsen SoundScan history that albums selling less than 20,000 have entered the top 10.

(Reporting By Piya Sinha-Roy; Editing by Bob Tourtellotte)


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"Willie and the Hand Jive" singer Johnny Otis dies at 90

LOS ANGELES (Reuters) - Johnny Otis, singer of the 1958 hit "Willie and the Hand Jive", has died in California at the age of 90.

Otis died on Tuesday in the Los Angeles suburb of Altadena, his friend and music historian Tom Reed told Reuters.

"His role in pop and rock'n'roll music made him a legend, he could do it all. He is one of the greatest talents of American music and he was a great American," said Reed.

Born John Alexander Veliotes in December 1921 to Greek-American parents in northern California, the young musician grew up in a predominantly African-American neighborhood in Berkeley, immersing himself in their culture and music, listening to blues, gospel and swing sounds.

Otis founded his own band in the mid-1940s and scored his first hit with the song "Harlem Nocturne". He went on to have R&B hits with "Mistrustin' Blues" and "Double Crossing Blues" in the 1950s and "Willie and the Hand Jive," in 1958.

The singer also composed Etta James' first hit, "The Wallflower" which gained chart success in 1955, the 1961 hit "Every Beat of My Heart" for Gladys Knight and the Pips, and produced "Hound Dog," made famous by Elvis Presley in 1956.

Otis became a disc jockey for Los Angeles radio station KFOX, and was also heavily involved in politics and the civil rights movement. He wrote about both in his 1968 debut book, "Listen to the Lambs," in which the 1965 Watts riots played a central theme.

He also became an ordained minister, opening the Landmark Community Church in Los Angeles in the late 1970s. He later moved back to northern California to become an organic farmer.

But the pioneering musician never moved away from his first love, music, and toured well into his 70s, headlining blues and jazz festivals along with his son, Shuggie Otis.

Otis was inducted into the Rock and Roll Hall of Fame in 1994.

(Reporting By Piya Sinha-Roy; Editing by Jill Serjeant)


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Adele, Jason Mraz top 2012's first Billboard chart

LOS ANGELES (Reuters) - British singer Adele kicked off 2012 just like much of 2011 -- at the top of the Billboard album charts, for a 15th week, with her best-selling "21".

Soul-pop singer Jason Mraz scored the year's first top song with "I Won't Give Up" at No. 1 on the Billboard Digital Songs chart, ahead of his eagerly anticipated fourth album.

"21" sold 124,000 copies, almost three times more than this week's No. 2 album, Drake's "Take Care." While album sales across the top 10 were down this week, the chart saw a resurgence of some of 2011's favorites, including Black Keys' "El Camino" up to No. 3, Coldplay's "Mylo Xyloto" back up at No. 5 and Rihanna's "Talk That Talk" up to No. 6.

The only new entry this week to break into the top 50 was alternative rock group SafetySuit's sophomore album "These Times," which entered the chart at No. 7.

In the digital songs chart, Mraz surpassed recent chart staples such as LMFAO's "Sexy and I Know It," Rihanna's "We Found Love," with his new single.

The song was released after the singer posted a video on his website, which then spread through the social networks. It sold more than 229,000 download copies in its first week.

"I Won't Give Up" precedes Mraz's follow-up to 2008's "We Sing. We Dance. We Steal Things," which included the hit single "I'm Yours" and earned a Grammy nomination.

(Reporting By Piya Sinha-Roy; Editing by Jill Serjeant)


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Monday, January 30, 2012

Music Lessons For Adults - Just Do It!


If you have ever considered music lessons for adults, perhaps some of the following thoughts have come to mind: "My parents made me take piano lessons when I was a kid and I hated it and never practiced. Now I really regret that." "I would love to have a grand piano in my house, but I don't know how to play." "When I was a child, I always wanted to play an instrument, but I never got to." "I played the clarinet when I was in high school and I really loved it." People reminisce about their past experiences with music and make comments like these. Music teachers hear them all the time... especially from those looking for music lessons for adults.

Music lessons for adults are easily available for almost any instrument, and that includes the voice. But there is not as much advertising and promoting of music lessons for adults as for children. This sometimes leads to a common perception by the public that music instruction is an activity for children only. This article will address some of the main reasons adults take lessons, how music lessons for adults benefit them, and ways to avoid some snags when you decide you want to begin taking lessons.

The first question an adult needs to ask before starting music lessons for adults is, "Why do I want to do this?" Both teacher and student must have a clear picture of what all the goals are. Just as important is the choice of instrument. How about that old saxophone stored away somewhere in the house? What about the piano you inherited from your grandmother? Or is it your desire to go out and buy a violin because you really want to play that violin? No matter what you choose, there is an adventure just ahead of you. Each instrument is distinct and individual in its own way, but there is a common set of rules for all written music, and that allows for producing and good performance, which is, after all, the goal of performing art.

The "motherboard" of all musical instruments is the piano. All other instruments extend from the piano, and the playing or singing of music is fun and engaging no matter which instrument you choose. But to produce a good sound and to be accurate and artistic in your performance, even if "performing" is just playing for yourself, it is necessary to understand the fundamental principles of playing and/or singing. It is very stimulating to be able to just entertain yourself, or to play on stage in front of an audience.

Once you decide you want to begin lessons the next step is to locate a teacher who is in tune with your interests and schedule. You need to make your needs known to the instructor. Is pop and jazz for your own pleasure what you want to play? Do you want to form a woodwind quintet for classical music of the masters? You need to make it known. It will be a total frustration for both student and teacher to slave over a Mozart sonata for several months, when what you really wanted to learn was how to play cocktail piano for a friend's party. Those who take music lessons for adults tell of the enjoyment and fun gained from flexibility in attempting a wide assortment of music styles. No matter what style of music you want to play, nothing takes the place of learning the basics, learning the vocabulary, and grasping the fundamentals, but these are merely tools to be used to reach the desired results. The adult student who begins lessons needs to remember that communication is the key. The adult student is the customer and that student will experience a real feeling of accomplishment when they possess a real desire to learn. A clear understanding between teacher and student of what the ultimate goal is will produce the most fulfillment. The ideal music instructor will cultivate this process and structure the material in such a way as to make it user-friendly and fun!

After you've found a teacher that meets your expectations, you will have to make a determination of how much time you can devote to this exciting project. Keep in mind that music is a journey, not a destination. Even the most accomplished professionals never stop being coached and seeking input from their peers. Enter your lessons with the expectation of spending at least a few years mastering the basics.

There is never a time when even the most accomplished professionals ever stop being coached and getting input from their peers. Music lessons for adults should be entered into with the understanding that you will spend at least a few years mastering the basics. Even more importantly, music lessons are most successful when there is time to practice. Thirty minutes per week is most often the actual lesson time. It is during this lesson time that the teacher will check hand position and breathing techniques, answer questions that may have come up during the prior week, demonstrate how to overcome trouble spots, and prepare the student for what is coming up the next week. The adult student must be willing to commit to a few minutes of practice for drills and repetition of material. Success will be linked directly to the amount of time dedicated to practice, but for the recreational musician, an acceptable result can be achieved through one half-hour of concentrated practice most days per week.

There are well-documented therapeutic advantages of playing a musical instrument. Pianos are located in nursing homes all over the country. Age curtails many activities due to physical constraints, but playing an instrument or singing can be safe and enjoyable at any age. Senior adults are often retirees with time to practice, so they can usually make remarkable progress. Playing music can be a good source of stress relief for the active working adult. A good teacher will be able to monitor the correct difficulty level of music in order to make music enjoyable and a source of pleasure for the adult student, and not another chore added to a schedule that may already be burdened.

Playing music encompasses the body and the mind, with both brain and hands becoming precisely connected. Each finger has to be a certain place at a certain time, and each note sung is a very exact number of vibrations per second. The science of this is precise and fascinating. True euphoria can be produced by successfully making it through a challenging passage.

Music lessons for adults are also advantageous in a social sense. Belonging to a community orchestra or chorus, joining a band, entertaining at parties, being a musically-educated member of a church choir-these activities are all much more pleasurable when you have the proper training.

Look at bulletin boards in music stores and local computer lists. They all show people looking for singers, keyboardists, and all kinds of other musicians. Music is a performing art, but playing at home or alone, with no one listening can be an entirely relaxing and enjoyable time. But, music is unique in that it takes three entities for completion. A composer must create the music, a performer must perform the piece, and an audience is needed to hear and enjoy it. It is these three elements-composer, performer, and audience-that make a live performance a distinctively engaging experience between the performer and the audience, even if your audience is just the family relaxing with you at home! Keep in mind, though, a good music studio will always offer recitals to its students to allow them to perform in front of an audience, should they desire to do that.

Dr. Diana Chapman Walsh, former President of Massachusetts' Wellesley College gave a most inspiring and memorable speech when she was addressing prospective students. Incoming freshmen at Wellesley were encouraged to delay declaring a major. The philosophy there was to keep all avenues of self-development open. Dr. Walsh advocated taking classes in which you had no experience, and classes that you considered uninteresting, because you might discover an aptitude you never knew you had. I like to compare adults taking music lessons to Dr. Seuss's character, Sam, who finds that after resisting them, "he LIKES green eggs and ham!" This is great advice for people of any age! The point gets across in yet a different way in Columbia Picture's 1991 movie, City Slickers. Curley, a character played by Jack Palance, is a wise and weathered old cowboy, and his companion is Mitch (played by Billy Crystal). Mitch asks Curley what the meaning of life is, and Curley answers that it is "just one thing," When Mitch asks what the one thing is, Curley replies that it's different for everybody, and everybody has to find it for themselves. No matter what your age, it is never too late to see if music might be your "one thing."

One of the many beautiful aspects of music is that it crosses all cultural, ethnic, political, and religious boundaries, and it is a constant. In an ever-changing world of electronic and digital technology, the specifics of how to play music remains unchanged, as anyone will find who took lessons as a child and starts again years later. (Middle C will never betray you--it's always right where it was the day before, just waiting to be played!)

Students taking music lessons for adults come from all walks of life. A cross-section of my studio's adult students includes a medical student seeking recreation and release from studying, a retiree working on a piano sonata, a housewife who received a grand piano for her anniversary present, an attorney who wants to be able to help his son with his piano lessons, a wife and mother of three who just turned forty and is taking voice and yoga for self-fulfillment, and an attorney with a long-held desire to learn piano but never played. There is another gentleman from the medical industry who has a complete sound studio in his house, and he wants to concentrate on theory in order to compose and record original music.

Once when housing two gentlemen from the Ukraine overnight, I had one of the best musical experiences ever. They were traveling with an orchestra and chorus across the US, staying in individual homes. They did not know a word of English, and I knew no Russian. It looked like it could be a long night, until they pulled out their violins. I pulled out a flute, and the three of us played Bach trios all evening long. Communicating in words became unnecessary. We all understood the language of music, and that can be a very rewarding experience for anyone. As an adult coping with today's world of techno-gadgets, Twittering, time crunches and traffic, learning music through music lessons for adults can be a great outlet. Who knows, you might just discover your "one thing."




Melodie Ellis is a staff member at Learn Piano In Your Home, offering Music Lessons for Adults as well as children ages 3 and up. http://www.LearnPianoInYourHome.com offers lessons in students' homes or in teachers' studios throughout the U.S.




New Song Music


The Quest for music the way you like it, or should I say I like it has often been an uneventful, and often times disappointing task. As I am sure a lot of you reading this right now would agree. Please allow me to define "music the way you like it".

This applies to music which rejuvenates you, that allows you to see the brighter side of things or situations (That light at the end of the tunnel). This is the stuff that changes moods (from bad to good or vice verse), that may make an insurmountable task surmountable. Music is deeply Emotional, Music is Compassionate, and Music compliments our lives.

Have you ever found yourself tapping your hand or foot to an unfamiliar melody or beat, but then you realized that you were doing it and kept tapping just the same. During those rare occasions when we hear a piece of music that we like and have not heard before, and you wonder what the name is of that particular piece, and or the artist/artists name or album.

This can be a difficult task depending on the medium in which the New Song Music passed through your ear cavity. If it was the radio (airwaves, Internet or otherwise), in a passing car, restaurant, lounge, Gym, etc...Etc. There are so many ways you can luck up on good new music, or simply new music to you. Honestly if you have not heard it before it is new to you. Just like a new used car is new to you, you love it just the same.

Well...let us discuss this process, and also remove dumb luck from the equation. Honestly how often do you blindly stumble across great music you absolutely love, during your daily travels. Unless you live in a college dorm, or frequent clubs and happy hours daily ("ahhhh the good ole days"), most do not have that kind of time. Although there are some of us that have the luxury to work in the entertainment industry, or have jobs with great schedules which allot for a great deal of free time.

Unfortunately the rest of us have limited time and moderate or a great deal of responsibility. So finding new music may have to be a bit more deliberate, and premeditated in purpose. In other words an easy and convenient way to find New Song Music frequently!

As you are aware most of the New music you hear on main stream radio is less than appealing. Then those same unappealing songs are played repeatedly. If you happen to hear a song by an artist you do like, it gets played so many times that you lose interest. I often wonder with all this repeat business going on, how do new good artist even get introduced? I call this the radio loop.

So here are a few ways you can acquire good New Song Music. Music Blogs, Social Music Sites, and Music Portal Sites that identify similar artists by genre or category based on your current favorites.

Music Blogs...

Otherwise known as Mp3 blogs, that allow you to download new music. Once you have downloaded the track simply listen and give your opinion (your opinion is not required); the great thing about this medium is that it gives you access to safe music downloads for free. The artists featured usually are new unknown, lesser known, or underground.

Along with the music download a blog post will accompany the file giving you some background and bio information about the artist. In most cases you will be able to view how others have rated it, depending on how new it is. This can be a good indicator whether or not it is worth your time to even engage your ears.

The mp3 downloads are provided by record labels and promotion firms so that is why the music is legal and free for distribution. Most come from the artists promoting music themselves, so it is a great way to find some real musical treasures.

Some of the Music Blogs I like are One Track Mind, and The Hype Machine, so go check them out. Remember your opinion is strongly encouraged; this is how the sites are able to supply you with new music daily. So remember to vote/rate the songs you like and the ones you do not it only takes seconds. In an effort to give back when we can, here is an opportunity to do just that.

Social Music Sites...

These Musical Communities give the power to the listeners, the Incumbent Independent artist/artists submits there musical works to the communities for review. The listeners, in some cases soon to become fans recommend the music they like to others in the community. The advantage of this type of social circle is that you can see what other music listeners have liked at a glance. Thus adding to your own musical Internet jukebox.

My favorite Social Music sites are The Sixty One, and Our Stage.

Music Portal Sites...

The main focus for most of these Sites is to promote unsigned artists, and allow their music to be heard and fan a base to be acquired. The new music found here are often times unique and original, so listen closely. The premise is for listeners to invest in the artists they really like. Once the artist reaches their budget goal, they will be able to record an album professionally. This gives the artist the leverage to create their own deals with record labels, the way they want. Without the limitations that are put in place when advances for recording and marketing are made. This in turn allows the artist/artists to retain creative control, and maintain musical message with direction. Free from Record Label main stream constraints. In essence you get to hear new music songs before they go main stream, and before they top musical chart.

Please check out Sella band and Africa Unsigned, great untapped resources.

There are literally dozens of ways to find new music...

There are so many ways to discover new music I have just outlined just a handful here. So please take on your own initiatives to discover New Music and share with others as frequently and as often as you can.




Khari Harrigan is a long time music connoisseur, and DJ specializing in music that withstands the test the test of time. Music with heart, which never goes out of style, is his the mission, and he has accepted it!

New Song Music [http://www.newsongmusictracks.com/]

More Ways Of Discovering Music [http://www.newsongmusictracks.com/new-song-music/new-song-music-track]




Freed Moroccan rapper promises more protest songs

RABAT (Reuters) - A Moroccan rapper who has become one of the monarchy's boldest critics was freed on Thursday after serving four months for assault, a charge which his lawyers say was a ploy to muzzle the popular singer.

After his release from Casablanca's Oukacha prison, Mouad Belrhouat, known as El-Haqed or "The Sullen One," said he would continue singing rap to protest "against the contempt ordinary Moroccans endure at the hands of the state and politicians."

"I will continue to spread my message and denounce the massive corruption in our country," he told Reuters by phone.

His trial had been seen as a test of the Justice and Development Party's commitment to ensuring full independence for the judiciary. The moderate Islamists are leading a government for the first time - like their Tunisian counterparts - after winning elections in November.

The Arab world's oldest monarchy, seeking to preempt popular revolt, made the judiciary constitutionally independent last year. But the courts retain a reputation for taking cues from the authorities, notably in graft and Islamic militancy cases.

BITTERSWEET VICTORY

Earlier Thursday, a court in Casablanca sentenced 24-year-old Belrouat to four months and three days in jail and fined him 500 dirhams ($57), sources in the court said.

Belrhouat was arrested in September after a brawl with a monarchist. Bail requests by his lawyers were rejected and the trial was adjourned six times.

"It's a bittersweet victory for us," said activist Maria Karim, who has led the campaign for Belrhouat's release.

He has become the singing voice of the movement, inspired by Arab world uprisings, demanding a constitutional monarchy, an independent judiciary and a crackdown on corruption.

Morocco's main human rights group, AMDH, considers him to have been a prisoner of conscience.

His lyrics telling Moroccans to "wise up" have angered many monarchists. In one song he says the king spends so much time giving orders that he has little time to count his money in Switzerland.

Belrhouat has struck a chord with young Moroccans who are disenchanted with the lack of jobs and widespread corruption. One song "Bite just as much as you can chew" has had more than 600,000 hits on Youtube.

($1 = 8.7220 Moroccan dirhams)

(Editing by Louise Ireland)


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Taylor Swift aims at Jake Gyllenhaal on new album?

(Reuters) - Taylor Swift says her new album will be about an "absolute crash-and-burn heartbreak," prompting speculation in the media that the latest subject of her songwriting skills may be her short-lived 2010 crush on Jake Gyllenhaal.

Swift, 22, whose "Dear John" song was seen as a bitter ode to ex-boyfriend John Mayer, told Vogue magazine that she was working on her fourth album, and is currently single.

The country-pop crossover artist, who famously wears her heart on her songwriter's sleeve, said that writing about past loves is a way to ease the pain.

"There's just been this earth-shattering, not recent, but absolute crash-and-burn heartbreak and that will turn out to be what the next album is about," she told Vogue in a cover story for its February edition.

"The only way that I can feel better about myself -- pull myself out of that awful pain of losing someone -- is writing songs about it to get some sort of clarity," she said.

Swift dated "Brokeback Mountain" star Gyllenhaal for about three months in late 2010 before their much-photographed relationship ended suddenly around the Christmas holidays that year. U.S. celebrity magazines claimed that Gyllenhaal had ended the relationship because he was unhappy at the attention the couple was generating.

Swift told Vogue she did not feel like dating at the moment. "I really have this great life right now, and I'm not sad and I'm not crying this Christmas, so I am really stoked about that."

Asked whether she was crying last Christmas, Swift replied, "I am not gonna go into it! It's a sad story!"

Swift gave no details, but media speculation over whom she was talking about quickly fell on Gyllenhaal, her last known relationship.

The Grammy-winning young singer's previous romances with "Twilight" actor Taylor Lautner and singer Joe Jonas are widely thought to have inspired her songs "Back to December" and "Forever and Always".

"I think I am smart unless I am really, really in love, and then I am ridiculously stupid," she told Vogue. But she said she had learned some of the romantic pitfalls to avoid, including obsessive privacy.

"I can't deal with someone who's obsessed with privacy. People kind of care if there are two famous people dating. But no one cares that much. If you care about privacy to the point where we need to dig a tunnel under this restaurant so that we can leave? I can't do that," she said.

(Reporting By Jill Serjeant; Editing by Bob Tourtellotte)


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The Problem With Music Advocacy


Have we, as an interested group in music education, damaged our own efforts simply by labeling it as "music advocacy?" I, along with many music educators, am very thankful for "VH1 Save the Music," and other music advocacy efforts. But only those who are already passionate about the value of music education truly champion those efforts. Although the term, "music advocacy," has its place within the circle of music supporters, it is a misrepresentation in general society.

The word, "advocacy," indicates helping an underdog. It places it in a category of sympathetic efforts toward something worthwhile in need of saving. Contemplate the term, "child advocate." What pictures come to mind? Visual images of children in need pulling on your heart-strings of giving, right? We love them and want to do more for them, but invoking emotions of sympathy only reaches a few. Think of all the phrases that include the word, "advocate," or "advocacy." What is your instant emotion? pity? charity? sympathy? empathy? left-wing? righteous? desire to fight for the cause?

Why do we feel that way? It indicates a need to fight for the defenseless, vulnerable, needy. Who puts on the gloves and does the defending? The one's closest to the underdog. Those with a deep compassion and emotion connected to the victim.

How do they fight for the victim? They work to bring the world's attention to the problem. They paint graphic pictures through word and images that guilt people into giving. Those most passionate for the defenseless work tirelessly, attempting multiple methods to reach the masses, but only winning a few.

Music is not the underdog in reality, just in the education system, and in lack of funding. In our efforts to improve the perception and financial support, we sabotage the greater mission to revere and admire. Music is not something to sympathize, but to admire and seek to aspire to greatness. What if we turned sympathy into admiration?

People love winners. People love champions. People want to be part of the winning team. It inspires them to go after their dream and admire those who did and succeeded. For example, I'm not much of a sports fan, but when the local high school team begins advancing to the state playoffs, I'm there with the rest of the town. Everyone loves a winner. Sound familiar?

Now contemplate a contrasting picture-Shawn Johnson. Have you heard of her? A young girl from Iowa had a dream. With only the support of her family and coach, Shawn focused on the gold and passionately dedicated her time, energy and talent toward achieving excellence, and she did. Shawn obtained a gold and silver in the 2008 Olympics held in China-and hasn't stopped yet.

Before the Olympic season, only those within the gymnastics' circle knew of Shawn Johnson. Similar to only those within the music circle are aware of the benefits of music instruction in a person's life. Shawn Johnson is not a sympathetic picture. No one is a martyr for Shawn Johnson. No one needs to be or even wants to be. Shawn Johnson is one girl who had a dream with an action plan. She had a small support team of her family and a coach. Shawn did not recruit "advocacy" groups to help pull her along and represent her case. She did not see herself as an underdog. She was going for the gold-the Olympic gold.

Did she dedicate a percentage of her time reaching for sympathy votes and support groups? No. As she poured her heart into her work, she began to excel and as she began to win, the world clamored to see her, learn about this incredible success story, take pride in her as one of our own in the U.S. Everyone admired Shawn's dedication and proudly claimed her as a representative of what is possible when you aspire for excellence in your craft. For Shawn Johnson that is gymnastics. For us, it is music.

Millions of kids take gymnastics, but it's only the excellent ones that the world wants to watch. Many people are involved in music, but it's only incredible musicians that draws the world's attention.

The large majority of U.S. citizens never attend, or watch, or participate in gymnastic events, but in the summer of 2008, all U.S. eyes were watching Shawn, willing her to win and celebrating her victories. Google Shawn Johnson and you will find articles and video clips from around the globe. Fan clubs and web pages came into being. All of this from one girl with a dream that took the necessary action to make it happen.

People love a winner. People want to be apart of the winning team. People gravitate and seek out winners. They want to be part of that dream.

Music is a winner. We, musicians and music educators, know that. Anyone who sits in an audience and is moved to tears from the sheer beauty of the perfectly sung notes in a musical or opera, or the exquisite sounds of the instruments in an orchestra or band that cause people to rise to their feet in impulsive applause, understands. Music experienced at that level does not evoke sympathy, but awe. Everyone that experienced the incredible music shares it with enthusiasm to anyone who will listen. Like a virus, everyone clamors to experience the magical moment created through music. All eyes turn toward the source of the inspiration and want to experience it again.

We know that, but does society? We need to stop portraying music education as an underdog needing rescued and start exclaiming the opportunities for incredible experiences unlike any other. If our music programs inspire and excel as winners, all eyes will turn to us and want to be part of what we are doing. They'll experience what we already know and music will be viewed as the hero it already is.

"Music advocacy?" I don't think so. Within our music circle? Maybe, but only within our circle. We need to view it as something with wondrous awe that we are excited to share, not defend. Does music education need more support and help to keep it in existence? Absolutely. No question. But we are going about it the wrong way. Outside of the music world, the phrase, "music advocacy," hurts the mission before it even starts. The term indicates a solicitation for sympathy votes before you even understand what they are about. They only really effect those who are already passionate about music and already see the problem. Music education will NEVER be elevated and perceived with respect with labels that indicate defenseless losers and illicit pity.

Pursue excellence in music with a single-focused passion and people will follow. Pursue excellence in music education with passion and people will rally and clamor to be part of the success of their kids-your students.

We treat music education like a needy child trying to compete in an olympic games out of sympathy votes. Only eyes of pity on that child-and then they are fleeting. Music education needs to be Shawn Johnson, and in many schools it is perceived with admiration and respect. Music performed with excellence already is admired and respected with wonder and awe by those who have the privilege to witness it. There are many examples from Paul Potts and Susan Boyle to Kristen Chenoweth, Bobby McFerrin, Yoyo Ma, etc. Pursue excellence in music education and the world will notice and be inspired.

How do we achieve this? Teach kids with passion. Practice with passion. Conduct with passion. Educate parents with the beneficial facts of music education and instruction, but not as a plea, but as an exciting opportunity to involve their kids in the best. We have something that is in desperate need-smarter, brighter and more creative citizens. Music education instills, develops and exercises those qualities. We have wonderful tools available for today's children.

Teach with passion and the term, "music advocacy," will become obsolete.




Sharon Burch, the creator of Freddie the Frog, teaches music to K-3 students in the Centerville Community School District in Centerville, Iowa. Adventures of Freddie and his friend Eli are available in Freddie the Frog Books, where learning musical concepts are learned in a fun and exciting way!




Sunday, January 29, 2012

Indie Music Marketing - Why Indie Musicians Are Struggling to Sell Music


If you are an indie musician and you are struggling to sell your music, if you are struggling to get publicity, then it is probably because of at least one of these three reasons:

Reason # 1. Indie Musicians have forgotten, or are not aware of, the true value and power of music.

Indie musicians have to think more like entrepreneurs. Every successful entrepreneur ask this question: What is the value of the work that I do or the product I make? In other words, for your music, what problem does your music solve for my target audience? If you can answer that question, then you have the mind of a music entrepreneur.

The music industry has cheapened the value of music and reduced the value of it to entertainment, to a catchy beat or hook, to packaging. These are all features and not benefits. All marketers know that in order to effectively market your product, you have to focus on the benefits that your product delivers to the consumer. You shouldn't focus on the features. The value of your product is not in the features but in the benefits. The value of your music is not in your hook or your beat but it's in how people receive your hook. It's in how your hook/beat/lyrics solves the problems of others.

Music is more than entertainment for fans. It has more value and more power. When you as an indie musician begin to focus on the real value and power of your music, you will build a successful business model that allows you to connect with your fans and give your fans a reason to buy your music.

People do not just want to be entertained. It is true that people buy music to be entertained, but real entrepreneurs dig deeper to find out the real motivation behind why people buy music. Why do people want to be entertained? Why do people want to be entertained with music? When you can answer those questions, then you will know the value of music and can give people a reason to buy it.

So why do people listen to music? There are many reasons. One reason, people use entertainment as escapism. People turn to music to get their minds off of the struggles they face everyday. It helps them deal with their struggles and problems. People listen to music when they are happy and when they are sad. Listening to music is an emotional experience for so many people. People love the way it makes them feel. It has the power to change our moods. Music inspires, motivates. It is so much more than entertainment and a catchy hook.

If you don't understand the value that your music has in the lives of fans, then you will have a hard time marketing, promoting and selling your music. If you don't know the problems and challenges that your fans have, then you are not a music entrepreneur. If you don't know the problem that your music solves for these people, then you are not a music entrepreneur. If you have not created music that solves their problems, then you are not a music entrepreneur.

Reason # 2. Indie Musicians do not communicate the real value of their music This reason aims at how musicians market and promote their music. In your marketing and promotion, you have to emphasize the value your music has to your fans. In other words, how does your music impact your fans? How are the lives of your fans transformed because they have listened to your music?

Reason # 3. Indie Musicians do not deliver the value of their music to their fans. This is all about distribution, how your music is delivered, received, and experienced by your fans. This is about how your fans experience your brand. Did you deliver what you promised? If you marketed your show as the best live show in your city, then was it the best live show your fans have experienced?




For more tips and strategies on how you can market and promote your music, go to Indie Music Marketing

Author Angela M. Carter is a Music Success Coach and Music Marketing Strategist for Campaign You Strategy Group. Ms. Carter helps indie musicians develop creative and strategic music marketing campaigns. She helps indie musicians get more exposure and sell more music. Ms. Carter is also the host of Music Success Radio, a radio show that offers listeners practical tips on music marketing, branding and promotion.

Currently, she resides in Austin, TX where she is a music attorney.

Music Success Radio: http://www.blogtalkradio.com/musicsuccess




Study, Stress and Music


Is background music beneficial or harmful during study? Given that about 75% of students listen to music whilst they do their homework, we ought to find out.

It is natural to enjoy learning. We are born curious and eager to gain new knowledge to make sense of the world we live in and gain an increased understanding of our self. This new and successful learning results in self-growth and self-esteem.

Human beings seek self-esteem and happiness more than anything else (Aristotle)

The model of a happy, self-motivated learner can be disrupted by stress and negative emotions. The little emotions are the captains of our lives and we obey them without realizing it. (Vincent Van Gogh)

Stress occurs when there is a perception that a given challenge is greater than our skills. Stress can be good or bad, depending on how we deal with it. Good stress causes a narrowing of attention, bad stress causes a focus on negative outcomes. Bad stress can interfere with brain circuitry making learning more difficult. Physiological changes resulting from stress include increases in pulse rate, blood pressure and body temperature. Severe stress can cause headaches, tears and ulcers. In summary, stress can negatively affect learning. When I ask students if they have been stressed recently a majority of hands rise.

Music is an art form which deals with the representation of emotion through the medium of sound. It can have a physical effect on us because it is closely linked with emotion, perhaps even more so than the abstract nature of words. The number one reason people listen to music is to moderate their emotional state. In a very real sense, music connects us with our inner selves.

Numerous studies leave us in no doubt that music can affect our mood state and stress levels. In fact, a great deal of present research involves the use of music in medical situations to assist recovery rates and induce a desired physiology (usually a lowering) of heart rate, blood pressure and body temperature. The use of music as an element in medical intervention is an example of creative connection between subject areas. I explore this topic more in my staff PD units on trans-disciplinary learning and creativity.

Great innovation and new ideas emerge from trans-disciplinary connections (Kozumi)

Does music help or interfere with studying? Firstly, it depends what the task is. The more difficult the cognitive challenge, the more likely background music will disrupt the learning process. For less challenging learning tasks, music can greatly assist in providing external stimulation and a positive learning arousal state. Secondly, it depends on the characteristics of the music which we will come to in a moment; and thirdly, it depends on personality type. Extroverts enjoy and often require more external stimulation than introverts, and are likely to handle background noise better than introverts.

What are the music characteristics that aid or disrupt study?

Tempo

The recommended tempo for background music is in the range 70 -110 beats per minute, slightly faster than the heartbeat at rest. Music at fast tempi exerts a greater cognitive load (demands more attention) because our brain is processing more musical events per second. Fast music also raises the heartbeat, which is why gymnasiums use certain types of music with their fitness programs. Very slow music lowers the heartbeat, creating a state that might be too relaxed for study purposes.

Volume

Music which is very loud or forceful exerts a greater cognitive load which makes concentration more difficult. Music which is too soft can also be irritating if we find we are straining to listen. Music with sudden dynamic (volume level) changes is also unsuitable. Volume level is an individual preference, but needs to be moderately low and consistent.

Tonality

For this topic, tonality refers to whether music is in a major or minor key. Music written in a major key generally has a happy character, whilst minor, sad. One does not need to be familiar with this music jargon as even very young children are adept at picking the tonality of music. For example, Twinkle Twinkle Little Star is in a major key, whilst a funeral march would be in a minor key. Choosing music written in a major key and at an appropriate tempo is best for study purposes, although many people find that slightly quicker minor key music also works. This is because of relationships between musical characteristics - particularly between tempo and tonality, creating different arousal thresholds.

Lyrics

Many young people have a listening repertoire of only songs; that is, music with words. Lyrics are the most distracting aspect of background musical listening, because they compete with the same brain regions that process language. More particularly, studies have found that the most distracting background music per se is fast and familiar vocal music known by, chosen and liked by the listener.

So it's not about genre of music, be it classical, jazz, pop or rock, but the inherent musical characteristics which affect our mood and learning readiness. These characteristics include tempo (the speed of the beat), volume, tonality (major or minor) and whether or not the music is instrumental or has words. There are indeed more pertinent musical characteristics including texture, melodic range and rhythmic complexity, but this beyond the scope of a typical student presentation. There is still much we don't know about the effects of music listening on behaviour, and fMRI scanning is contributing much to our understanding.

If background music is to assist the learning process, we need to help students understand that if they do choose to play background music during homework, the primary aim remains to engage in a sustained period of learning. If music can help maintain a healthy learning- arousal state then well and good. But it's not about entertainment, and not all music is appropriate.

The largest body of music with

• moderate tempo

• consistent volume

• emotionally cool

• major tonality

• instrumental

is music from the baroque and classical periods.

Suitable baroque music includes compositions by Bach, Handel, Vivaldi and Pachelbel, and suitable classical music includes selections from Haydn, Mozart and Boccherini. I have compiled a 10-hour mp3 playlist for schools and individuals. Each piece was personally examined and selected based on the above criteria. Contact me if you would like this sent to you.

Those who like studying with background music have found some of the following benefits:

• It shuts out distractions

• I get immersed in my own world and become more productive

• It puts me in a positive frame of mind and a better mood

• It gives me a general feeling of well being

• It calms me before a large task and I stay focused for longer

• It makes time go by fast

• It helps me work quicker

• It's good for repetitive homework tasks

• It helps my creativity

• It makes studying more enjoyable

In summary, the use of background music for study is a personal thing. What is suitable for one will not necessarily be for another. For the record, this author finds it very difficult to concentrate on reading or writing with music on.




c 2010 Michael Griffin M.Ed Studies; B.Ed (Music); A.Mus.A (Pianoforte)
http://www.musiceducationworld.com
griffin@musiceducationworld.com

Full discussion: Background Music in the Learning Environment: Borrowing from Other Disciplines. Download from http://www.musiceducationworld.com/?q=schoolenvironments (50 pages)

Michael Griffin has presented to students and staff in Australia, New Zealand, Thailand, Malaysia, Germany, Austria, England, Italy, United Arab Emirates, Qatar, Oman and Ethiopia. Unique, educational and entertaining, time duration flexible; suggested between 60-120 minutes. Presentation includes a number of examples played on the piano.




Brian Williams rips Lana Del Rey in email to Gawker

(Note: strong language in penultimate paragraph)

LOS ANGELES (TheWrap.com) - Brian Williams won't be buying Lana Del Rey's next album.

In an email to Gawker chief Nick Denton, the NBC Nightly News anchor slammed Del Rey's "Saturday Night Live" performance last weekend as "..one of worst outings in SNL history."

Denton promptly plastered Williams' email on his site -- ruining NBC PR's Martin Luther King Day and sending them scrambling to scrub the internet for traces of the newsman's blunt remarks.

A flak for the network pressed the gossip hub to take down the missive, writing, "That was sent in confidence as friends and absolutely never intended to be public. A speedy removal would go a long way in maintaining the trust and respect we have for your site."

So far, Gawker appears to have ignored the request -- beyond posting it alongside Williams' message for the world to see and enjoy.

It was impolitic, but Williams was only repeating the critical consensus when he skewered the internet sensation's off-key belting.

Perez Hilton, for one, tweeted "Just watched SNL. Not only was @LanaDelRey vocally WAY off, but watching her utter lack of stage presence was cringe-worthy. #DontBuyTheHype."

However, in ripping Del Ray, Williams was also criticizing his own network and his profane communique was informal in a way that is wildly at odds with his well-coiffed, stentorian voiced persona.

Williams doesn't exactly drip with gravitas when he writes, "In my humble opinion as a loyal customer (you know I love you but the Blog View button will be the eventual cause of my death) and while I know you're in the midst of an editor change, weekends have been allowed to go awfully fallow - and it was a fallow holiday period for those of us who check your shit 10 times a day by iphone."

Time for Denton to post some Bob Schieffer texts.

(Editing by Chris Michaud)


View the original article here

Sheeran leads BRIT nominations, Adele eyes return

LONDON (Reuters) - English singer-songwriter Ed Sheeran led the field with four BRIT nominations on Thursday, one ahead of global chart queen Adele who is down to perform at the awards after months out for throat surgery.

The annual honors, Britain's top pop awards, will be handed out at London's O2 Arena on February 21, and Adele's live UK comeback is likely to be among the highlights.

The 23-year-old had the world's top-selling album last year with "21", which sold 5.8 million copies in the United States alone, and picked up six Grammy nominations in a triumphant year.

Adding to her list of accolades on Thursday, the "Rolling in the Deep" singer earned three BRIT nods and was bested only by the less familiar face of Sheeran.

The 20-year-old, whose debut album "+" topped the UK charts and has sold nearly a million copies in Britain so far, scooped four nominations, including for the coveted British Album of the Year prize sponsored by Mastercard.

He is also in the running for British male solo artist, British breakthrough act and British single for "The A Team".

Sheeran performed "Give Me Love" at a nominations launch in central London and confirmed he would sing it again at the main awards show.

On the red carpet before the event, he explained why he had featured Harry Potter actor Rupert Grint, who plays Ron Weasley, in his video for the track "Lego House".

"I went to school and was a ginger (haired) kid, so you're obviously going to get the Ron Weasley comments at some point so I just thought I would take the piss out of myself and get him to play me," Sheeran told Reuters.

Just behind him with three nominations apiece were Adele and Jessie J, the 2011 winner of the Critics' Choice award for rising music stars.

Adele is up against Sheeran in the British Album category for "21" and was also nominated for British female solo artist and British single ("Someone Like You").

Jessie J competes in the female solo artist, British breakthrough and single categories, the latter for "Price Tag".

Veteran Kate Bush is also vying for best female act, sealing a remarkable comeback.

Florence & the Machine and Coldplay are each nominated twice, as are Emeli Sande, this year's Critics' Choice winner, and Americans Bon Iver and Aloe Blacc.

Playing at the awards ceremony next month are expected to be Adele, Bruno Mars, Coldplay, Sheeran, Florence & the Machine, Rihanna, Noel Gallagher and Blur, recipients of the Outstanding Contribution to Music Award, according to a list released by organizers.

Following is a full list of the 2012 nominees:

BRITISH MALE SOLO ARTIST:

Ed Sheeran; James Blake; James Morrison; Noel Gallagher's High Flying Birds; Professor Green

BRITISH FEMALE SOLO ARTIST:

Adele; Florence & The Machine; Jessie J; Kate Bush; Laura Marling

BRITISH BREAKTHROUGH ACT:

Anna Calvi; Ed Sheeran; Emeli Sande; Jessie J; The Vaccines

BRITISH GROUP:

Arctic Monkeys; Chase & Status; Coldplay; Elbow; Kasabian

BRITISH SINGLE:

Adele/Someone Like You; Ed Sheeran/The A Team; Example/ Changed The Way You Kiss Me; Jessie J Ft B.o.B./Price Tag; JLS Ft Dev/She Makes Me Wanna; Military Wives and Gareth Malone/Wherever You Are; Olly Murs Ft Rizzle Kicks/Heart Skips A Beat; One Direction/What Makes You Beautiful; Pixie Lott/All About Tonight; The Wanted/Glad You Came

MASTERCARD BRITISH ALBUM OF THE YEAR:

Adele/21; Coldplay/Mylo Xyloto; Ed Sheeran/+; Florence & The Machine/Ceremonials; PJ Harvey/Let England Shake

INTERNATIONAL MALE SOLO ARTIST:

Aloe Blacc; Bon Iver; Bruno Mars; David Guetta; Ryan Adams

INTERNATIONAL FEMALE SOLO ARTIST:

Beyonce; Bjork; Feist; Lady Gaga; Rihanna

INTERNATIONAL GROUP:

Fleet Foxes; Foo Fighters; Jay Z and Kanye West; Lady Antebellum; Maroon 5

INTERNATIONAL BREAKTHROUGH ACT:

Aloe Blacc; Bon Iver; Foster The People; Lana Del Rey; Nicki Minaj

OUTSTANDING CONTRIBUTION TO MUSIC AWARD:

Blur

CRITICS' CHOICE:

Emeli Sande

BRITISH PRODUCER:

Paul Epworth; Flood; Ethan Johns

(Reporting by Mike Collett-White, editing by Paul Casciato and Jill Serjeant)


View the original article here

Justin Bieber seeks Jackson-like fame, and no drugs

LOS ANGELES (Reuters) - Teen idol Justin Bieber turns 18 in March with a long and ambitious to-do list -- to still be around at 30, to be as famous as Michael Jackson, and to avoid singing about sex and drugs.

"Hopefully by the time I'm 30 people will remember me," the Canadian singer told V Magazine in an lengthy interview. "I don't want people to just think of me as a teen sensation."

But the "Baby" singer said he was determined to maintain the squeaky clean persona that has brought him millions of mostly young female fans, and their mothers.

"I'm never going to make myself so the kids and the parents don't respect me," he said. "I want to be able to do what Michael (Jackson) did -- he always sang clean lyrics...I don't want to start singing about things like sex, drugs, and swearing."

Bieber, who has been dating Disney Channel star Selena Gomez for several months, added that he still had some growing up to do.

"I'm into love, and maybe I'll get more into making love when I'm older. But I want to be someone who is respected by everybody," he told the U.S. fashion magazine.

Bieber released his first album at the age of 15, launching an international career and becoming the most searched person of 2011 on Internet search engine Bing.

But Bieber said he planned on staying around in the music industry for many more years to come.

"It's not a fluke that I am here. I am here for a reason, and I am here for a lifetime," he said. "I also want people to know that I write my stuff. No one writes my stuff for me."

(Reporting by Jill Serjeant)


View the original article here

Tom Russell sings of life from Hollywood to Mexico

LONDON (Reuters) - Texas-based singer Tom Russell has led a picaresque life, from teaching criminology in war-torn Nigeria to playing strip joints in Vancouver's red-light district.

He's lived in Spain and Norway, written songs for Johnny Cash, driven a cab and followed bullfighters in Mexico.

Such experiences have given him plenty to write about in his wry, witty songs that reference figures from British writer Graham Greene to Mexican revolutionary Pancho Villa.

"My career has gone backwards to most people. I didn't come out of a box with my best-selling records and live off that for the rest of my life," Russell told Reuters in an interview in London. "I feel I'm in great shape to write a lot more."

With his rangy frame, sonorous voice and Stetson, he looks like he would be right at home in a cowboy saloon.

But despite his genial demeanor, death often lurks in his songs. He's lived for the past 15 years in the Texan border town of El Paso.

"From near my house we can see Juarez. The most dangerous city in the world. Right across the border is the frontline of the Mexican drugs war."

The border violence is one theme of Russell's latest recording, "Mesabi," which he is showcasing on a string of dates across Europe this spring. It also deals with Hollywood, fame and falls from grace.

The title refers to the Mesabi Iron Range of northern Minnesota where Bob Dylan hails from.

"I went up there a few years ago to play a gig and I got to see the house in Duluth he was born in and the auditorium where he saw Buddy Holly play when he was a kid. Then I went up to Hibbing."

"I was just amazed that he came from this little mining town on the Mesabi Iron Range. Then I thought of myself as a kid in Los Angeles, listening to his records. So that starts this record off."

The thread moves to Los Angeles, where Russell grew up and watching Disney on a Saturday afternoon was a childhood ritual. The song "Farewell Never Never Land" shows his knack for mining gold from obscure sources.

"It's about Bobby Driscoll. He was the voice of Peter Pan in the Walt Disney cartoon. I found out that he died as an unknown junkie, some kids discovered his body in New York, he's buried in an unmarked grave. How ironic a story is that?

Another song recalls Sterling Hayden, the tough-guy actor and star of "Johnny Guitar," who was wracked by guilt for finking on fellow actors during the McCarthy hearings in the 1950s.

Then an ode to Elizabeth Taylor, living with husband Nicky Hilton in an El Paso hotel, takes us to the Mexican border.

Russell has written often about the hardships of Mexican migrants and in "And God Created Border Towns" and "Goodnight Juarez," he laments the violence of the drugs wars.

"Americans tend to want to forget about it -- 30 or 40,000 people have been killed in this drug war that's basically a billion dollar industry and these cartels are killing each other in order to sell us the drugs."

"We're buying the drugs and also selling them the guns. They're killing each other and we have a lot to do with it.

EAST OF WOODSTOCK, WEST OF VIETNAM

In concert, Russell is a hugely entertaining performer, making wisecracks and telling anecdotes between songs. On a recent night at the Cecil Sharp House, home of English folk, he regaled the audience with his off-the-cuff gonzo humor before hushing them with songs of hard times and struggle.

The music was fleshed out with flourishes from flamenco to Mississippi blues from guitarist Thad Beckham that evoked the Tex-Mex border.

As well as his musical adventures, he has published a book of his art work -- "Blue Horse, Red Desert," writes essays on Western life for a ranching magazine. He's also published a detective novel and a book of letters with Charles Bukowski and is working on a novel about Juarez.

His life has often led him down off-beat paths.

Just out of university in Santa Barbara with a masters in criminology, he took a job teaching in Nigeria, then wracked by the war over Biafra.

"In 1969, I didn't go to Woodstock and I didn't go to Vietnam. I went to West Africa. It was an amazingly strange and violent experience, where I grew up very quickly."

"I was arrested getting off the plane because I had taken pictures out of the window and I had no idea it was war zone and you can't do that. There was a U.S. Embassy guy on the plane who bribed my way out of being thrown in jail."

It was during that sojourn that he first read the books of Graham Greene, whose territory also ran from Africa to Mexico.

"I was able to read a lot, read everything. Years later I wrote him a fan letter and he wrote me back a note that I have on my wall in Texas."

But if like Greene, he has found himself a dangerous places and often championed the underdog and the oppressed, he is not staking out a political position.

"I'm not really a political person. My songs certainly aim at a topic but I don't have any overt politics. The song has to be a good song, rather than a song about something that's supposedly good."


View the original article here

Saturday, January 28, 2012

Sheeran leads BRIT nominations, Adele eyes return

LONDON (Reuters) - English singer-songwriter Ed Sheeran led the field with four BRIT nominations on Thursday, one ahead of global chart queen Adele who is down to perform at the awards after months out for throat surgery.

The annual honors, Britain's top pop awards, will be handed out at London's O2 Arena on February 21, and Adele's live UK comeback is likely to be among the highlights.

The 23-year-old had the world's top-selling album last year with "21", which sold 5.8 million copies in the United States alone, and picked up six Grammy nominations in a triumphant year.

Adding to her list of accolades on Thursday, the "Rolling in the Deep" singer earned three BRIT nods and was bested only by the less familiar face of Sheeran.

The 20-year-old, whose debut album "+" topped the UK charts and has sold nearly a million copies in Britain so far, scooped four nominations, including for the coveted British Album of the Year prize sponsored by Mastercard.

He is also in the running for British male solo artist, British breakthrough act and British single for "The A Team".

Sheeran performed "Give Me Love" at a nominations launch in central London and confirmed he would sing it again at the main awards show.

On the red carpet before the event, he explained why he had featured Harry Potter actor Rupert Grint, who plays Ron Weasley, in his video for the track "Lego House".

"I went to school and was a ginger (haired) kid, so you're obviously going to get the Ron Weasley comments at some point so I just thought I would take the piss out of myself and get him to play me," Sheeran told Reuters.

Just behind him with three nominations apiece were Adele and Jessie J, the 2011 winner of the Critics' Choice award for rising music stars.

Adele is up against Sheeran in the British Album category for "21" and was also nominated for British female solo artist and British single ("Someone Like You").

Jessie J competes in the female solo artist, British breakthrough and single categories, the latter for "Price Tag".

Veteran Kate Bush is also vying for best female act, sealing a remarkable comeback.

Florence & the Machine and Coldplay are each nominated twice, as are Emeli Sande, this year's Critics' Choice winner, and Americans Bon Iver and Aloe Blacc.

Playing at the awards ceremony next month are expected to be Adele, Bruno Mars, Coldplay, Sheeran, Florence & the Machine, Rihanna, Noel Gallagher and Blur, recipients of the Outstanding Contribution to Music Award, according to a list released by organizers.

Following is a full list of the 2012 nominees:

BRITISH MALE SOLO ARTIST:

Ed Sheeran; James Blake; James Morrison; Noel Gallagher's High Flying Birds; Professor Green

BRITISH FEMALE SOLO ARTIST:

Adele; Florence & The Machine; Jessie J; Kate Bush; Laura Marling

BRITISH BREAKTHROUGH ACT:

Anna Calvi; Ed Sheeran; Emeli Sande; Jessie J; The Vaccines

BRITISH GROUP:

Arctic Monkeys; Chase & Status; Coldplay; Elbow; Kasabian

BRITISH SINGLE:

Adele/Someone Like You; Ed Sheeran/The A Team; Example/ Changed The Way You Kiss Me; Jessie J Ft B.o.B./Price Tag; JLS Ft Dev/She Makes Me Wanna; Military Wives and Gareth Malone/Wherever You Are; Olly Murs Ft Rizzle Kicks/Heart Skips A Beat; One Direction/What Makes You Beautiful; Pixie Lott/All About Tonight; The Wanted/Glad You Came

MASTERCARD BRITISH ALBUM OF THE YEAR:

Adele/21; Coldplay/Mylo Xyloto; Ed Sheeran/+; Florence & The Machine/Ceremonials; PJ Harvey/Let England Shake

INTERNATIONAL MALE SOLO ARTIST:

Aloe Blacc; Bon Iver; Bruno Mars; David Guetta; Ryan Adams

INTERNATIONAL FEMALE SOLO ARTIST:

Beyonce; Bjork; Feist; Lady Gaga; Rihanna

INTERNATIONAL GROUP:

Fleet Foxes; Foo Fighters; Jay Z and Kanye West; Lady Antebellum; Maroon 5

INTERNATIONAL BREAKTHROUGH ACT:

Aloe Blacc; Bon Iver; Foster The People; Lana Del Rey; Nicki Minaj

OUTSTANDING CONTRIBUTION TO MUSIC AWARD:

Blur

CRITICS' CHOICE:

Emeli Sande

BRITISH PRODUCER:

Paul Epworth; Flood; Ethan Johns

(Reporting by Mike Collett-White, editing by Paul Casciato and Jill Serjeant)


View the original article here

French indie rockers in pursuit of global break

PARIS (Reuters) - Since their underground hit "ToyBoy" in 2006, Stuck In The Sound has been the one to watch on the French indie rock scene.

The Parisian act has built a reputation at home for manic live performances, intoxicating guitar riffs, and a hard-hitting but lyrical sound that is rarely heard in French rock.

The band, which sings in English and cites Nirvana, The Pixies, Smashing Pumpkins, and Sonic Youth as key influences, will release its much-anticipated third album "Pursuit" January 30.

This could be the band's chance to finally go global and join fellow rockers Phoenix or electronic acts Justice and Air on the select list of Gallic artists who made it big overseas.

The album cover featuring the vast horizon of a psychedelic red and pink sea sets the stage for the band's new ambitions.

"It reflects our desire to take this album really far. It's the dream of four kids who want to conquer the world with their songs," lead singer and guitarist Jose Reis Fontao, 29, told Reuters.

The band, which also includes guitarist Emmanuel Barichasse, 29, bassist Arno Bordas, 31, and drummer Francois Ernie, 30, was formed in 2002.

It was a time when 14-year olds all over France were forming guitar bands, inspired by international acts such as The Strokes and The Libertines.

The members of Stuck In The Sound were older than these "Bebes Rockers" (Baby Rockers)and they had a different agenda.

"We wanted to shake up the French rock landscape. We were fed up with these people who were saying that the French could not play indie-rock," Fontao said.

OBSESSIVE QUEST

Initially the band, who met when Jose and Arno were in film school, set out to create and play the U.S. indie rock of the 1990s they had loved so much when they were teenagers.

The recreational pastime quickly evolved into what Jose describes as an "obsessive, quasi-neurotic" quest to forge a unique sound and the discovery that band members would dedicate their lives to making music.

The Internet, intense touring in France and forays abroad including opening for The Rapture in Nashville won them a devoted fan base and a solid reputation for playing vibrant gigs, where a raucous audience often invades the stage.

"On stage we give out all we've got. We play each gig as if it was our last night and our last breath," Ernie said.

Fontao, the charismatic elf-like singer, who can hold delirious crowds under his spell, credits the trademark black hood that hides his face while on stage with magical powers.

"That's what gives me the strength to jump really high on songs like 'OUAIS'. It makes me feel like a super-hero. It was the hood or being on drugs," he joked.

Their first album "Never mind the Living Dead" in 2006 and its cover shot of a blond toddler with her face smeared in chocolate was an explosion which showcased the band's technical skills and raw energy, winning them a popular and critical following.

The single "ToyBoy" with its memorable intro "Shake, shake, shake, shake! Do you want me now ?" eventually ended up on the tracklist of the Guitar Hero World Tour videogame.

With their second album release in 2009, "Shoegazing Kids," the band confirmed they were serious players on the French rock scene as they learned to channel energy and polish their sound, exploring the melancholic road of teen angst.

The 13 tracks of the new album take the listener on a dizzying rollercoaster ride to the core of what makes the band's musical identity, a powerful sound entwined with vulnerability.

"While on the second album we were retreating within ourselves, with this one we are truly opening up to the outside world with a large variety of songs," Barichasse said.

The band will tour France, Switzerland and Belgium from February, with its eyes on the U.S. and its festivals later this year. "Pursuit" will be released on January 30 on the Discograph label.

(Reporting by Dominique Vidalon, editing by Paul Casciato)


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Will Music Really Make Your Child Smarter?


The nineties have been the decade for widespread news about the affects of music on the brain. Everyone seems to be asking about the "Mozart Effect", specifically what it is and how to use it to their child's benefit. It is certainly an exciting time to be a music educator and a parent. We are finally able to look at documented research that shows that music is integral to a child's growth, and use this information to help our children achieve their full potential. What more do we want as parents than to give our children all of the tools necessary to become happy, well-adjusted, intelligent human beings?

Unfortunately, like most popular theories, the "Mozart Effect" has become watered down in an effort by some people to make more money at the expense of the general public. You can go into any bookstore nowadays and buy "Mozart Effect" books, videos, tapes, and even bumper stickers.

In researching this article I did just that at several local music stores, as well as on the internet. I looked first in the music section, and when I didn't find any books on the subject, wandered over to the children's section with my 2 year old daughter. Again, aside from a mixed assortment of compact discs with music for children's brains, I found nothing of real value for research. Curious, I went to the information counter where I was told that the "Mozart Effect" books, written by Don Campell, were to be found in the "alternative medicine" section! And, they were all sold out. That gave me my first clue that something very interesting was happening on this subject. I decided to research further in the library and on the internet.

The term "Mozart Effect" has come to simplify (by Don Campbell et al) a large body of research by neuro-scientists and experimental psychiatrists showing a definitive link between music study and improved spatial intelligence. This is nothing to be taken lightly. Children are born with over 100 billion unconnected or loosely connected nerve cells called neurons. Every experience that child has will strengthen or even create links between neurons. Those pathways that remain unused will, after some time, die. Because neural connections are responsible for every kind of intelligence, a child's brain will develop to its full potential only through exposure to enriching experiences. It is important then, to identify the kinds of enrichment that forges the links between neurons.

Music has been clearly proven to improve neurological connections responsible for spatial intelligence. Spatial intelligence is necessary for a person to be able to see patterns in space and time. It is the ability to perceive the visual world accurately and to form mental images of physical objects. This kind of intelligence is used for higher brain functions such as music, complex math, solving puzzles, reasoning, and chess. Music specialists for years have noted that their musically-trained and involved students tend to be at the top of their class, often outscoring their non-musical classmates in mathematical tasks. Until recently, however, there was no way to clearly prove it.

Definitive studies have been done since the early 1980's when Dr. Gordon Shaw and colleagues presented the trion model of the brain's neuronal structure to the National Academy of Sciences. By 1990 the team had shown through computer experiments that trion firing patterns produce viable music, when these patterns are mapped onto musical pitches. This study was important in that it suggested that this musical model could be used to examine creativity in higher cognitive functions, such as mathematics and chess, which are similar to music. By 1991, Shaw proposed that music could be considered a "pre-language" and that early childhood music training exercises the brain for some higher cognitive structures.

In 1993 at UCal Irvine, Dr. Frances Rauscher, a Columbia PH.D. scientist and former concert cellist, joined the Shaw team in documenting a pilot study of the earlier research, but now directly applying their findings to people. This preliminary study showed that a group of college students temporarily improved their spatial-reasoning skills after listening to a Mozart piano sonata for 10 minutes. The same study applied to preschool children showed a more permanent improvement.

By 1997, the Rauscher-Shaw team had significant evidence suggesting the benefits of music to children's spatial intelligence. The team studied three separate groups of preschoolers. The first group received specialized music training, particularly weekly keyboard lessons; the second group received specialized computer training; the third group received no specialized training at all. After several months, the team tested the children using tests designed to measure spatial tasks. Those children who received the keyboard lessons performed 34% better than the children who had taken either computer lessons, or no lessons. And, the effects of the keyboard training was long-term, suggesting that their may indeed be a learning "window" in early childhood, where we may enhance the connections of neurons forever.

Other research has suggested the same thing--that music training in early childhood indeed helps a child's brain to develop. In the Winter '95 issue of Early Childhood Connections (ECC), Dr. Edwin E. Gordon, talks about a Music Learning Window. He says, "A child will never have a higher level of music aptitude than at the moment of birth... A child's potential to achieve in music remains throughout life where it stabilizes at age 9." Harvard Medical School's Dr. Gottfried Schlaug, found (through magnetic-resonance-imaging of musicians who began training before age 7, began later, and non-musicians) that certain regions of the brain are larger in musicians who started their musical training before age 7.

Now we have an entire scientific collection of data suggesting what music educators have known for centuries-- that music has a definitive effect on children's developments.

So, what do we, as parents, do with this information? Here are some suggestions:

1. Although listening to well-structured and performed music such as Mozart, Beethoven, and Bach certainly is wonderful for exposure to the arts, it is not simply by listening to music that your child's brain develops. All of the research has shown that music TRAINING is required. This means getting your children into music lessons early, while the music learning window is at its peak before age 9. Piano lessons seem to be exceptionally helpful, as the keyboard is symmetrical, balanced, and logical.

2. Support your child's local music programs in schools, churches, synagogues, etc. Here you will find skilled, educated music instructors who will bring new musical experiences to your child, including an appreciation for music in culture, history, and pure listening enjoyment. Demand a quality music education for your children throughout their lives.

3. Reevaluate where music fits into your home. Question why music traditions and activities, once central to family life, have been replaced by mass-market entertainment requiring no familial participation. Get off the couch and onto the floor and sing, dance, play instruments with your child.




Paula Penna, MMed., BMus. is the owner and director of MusicMakers, LLC and The MusicMakers Academy in Manchester, CT. She has a Masters degree in Music Education and Arts Administration from Florida State University, and a Bachelors degree in Music Education and art history. She is a publicly certified music teacher (pre K-12, choral, orchestral, and band). After teaching in the public schools in Westchester County, NY she worked as the Associate Director of Educational Outreach at the famed Manhattan School of Music (university level) where she wrote curriculum and trained the graduate students in how to teach music.

While at MSM she worked with teaching artists such as John Bertles, Pinkus Zuckerman, Itzhak Perlman, and Herbie Hancock to help bring music into the inner city schools which did not have music programs. She also sat on the Arts Roundtable of New York City, often encouraging advocacy for music education for all children. Moving to Connecticut to have her first child in 1996, she started MusicMakers Lessons at Home, which eventually grew to MusicMakers Academy, a classical music school with a progressive attitude. She resides in Connecticut where she is currently working on publishing her own books and resources for music education and etiquette.




Tuesday, January 24, 2012

Young The Giant takes seaside sound on U.S. tour

LOS ANGELES (Reuters) - They made a splash with their California beach-inspired debut album. Now indie rock band Young the Giant are hoping the rest of America will be swept away by their carefree seaside sound.

With their first two singles, up-tempo tracks "My Body" and "Cough Syrup," garnering radio, television and film play, the band, all in their early 20s, are kicking off their first headlining tour on February8

"We're a little jittery in a good way, we're excited to do our first big headlining run in theaters. It's amazing to see people already buying tickets to these things. It takes a lot of weight off our shoulders as it's selling well," lead singer Sameer Gadhia told Reuters.

Formed in Irvine, California in 2004 as The Jakes, the band went through a few line-up changes before settling on Young The Giant, with Gadhia on vocals, Francois Comtois on drums, Payam Doostzadeh on bass and Jacob Tilley and Eric Cannata on guitar.

The band recorded their self-titled first album, released in 2011, while still in their teens living together on the beach in Southern California. Songs like "Strings" and "12 Fingers" emote the feel of seaside living while Gadhia's distinctive voice showcased against up-tempo guitar riffs.

"We were living a carefree lifestyle, I guess a respite from all the previous responsibilities that we had all had, and we just lived on the beach for a year. We didn't really have much money but we were writing music sometimes, and we were out on the beach just having a good time," said Gadhia.

Their sound attracted the attention of fans across the world. British singer Morrissey sang their praises and MTV selected them as a "push" artist, which led to Young The Giant performing a raucous rendition of "My Body" at the 2011 MTV Video Music Awards.

"As far as VMAs and MTV, specifically VMAs, that's really what I think helped everything push so quickly," said Comtois.

The "Young the Giant" album peaked at No. 42 on the Billboard 200 chart, with Spin Magazine's David Menconi calling the music "boldly earnest anthems in need of a cozy arena." Rolling Stone's Matthew Perpetua called the single "Apartment" beautiful, while Drowned in Sound's Alex Yau drew comparisons to Tennessee band Kings of Leon.

However, not all critics were won over by the songs. Pitchfork's Ian Cohen called the album "corporate indie," while Paul Mardles at British newspaper The Observer described the band "an anemic Coldplay," giving the album two stars out of five.

CHASING A DARKER SOUND

Not wasting any time between records, the band are already working on their follow-up album, and planning to preview some new material during their 40 plus date U.S. tour.

"Definitely the first record was a success but we were 18 or 19 years old when we wrote that material. Now we've experienced a lot together, we've grown together as individuals, musicians and as a group, we don't feel like that was the best we could have done," said Gadhia.

"I think we really feel like we're in our element now and it took all that time to get to where we are right now."

While the first record was an homage to the carefreee seaside life, the second will explore a more mature sound from the band.

"We've experienced a lot, we've travelled so much. I think there will be a little bit darker songs on this (second record), but we're not trying to completely betray what we do naturally together," said the lead singer.

Young The Giant, who Gadhia calls "an Internet band," are closely connected with their fans on social media platforms, and

hosted an online contest after fans sent them remixes of their songs.

"It's constantly surprising to me how far reaching our fan base is," said the lead singer. "They're the ones that are always keeping in touch with us online and it's awesome to see that because we're most definitely from the Internet generation of bands."

The band released a free EP of remixes through their Facebook page in response, including two fan-made remix tracks along with fellow indie rock bands such as Two Door Cinema Club, Ra Ra Riot and Tokyo Police Club adding an electro-dance sound to their songs. Gadhia also expressed an interest in working with Brooklyn-based rap group Das Racist.

While the band are adamant they won't stray too far from rock, they may see some cross-genre collaborations down the line.

"Our musical tastes have adapted to our surroundings so I think we want to be able to bring in elements of what we listen to now into the way that we understand what pop music is," said Comtois.

(Editing by Jill Serjeant)


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Monday, January 23, 2012

Review: Springsteen's latest another political fakeout

LOS ANGELES (TheWrap.com) - Back in the mid-'80s, Bruce Springsteen's theme song might as well have been "Don't Let Me Be Misunderstood," as his not-very-gung-ho protest song "Born in the USA" got misappropriated for all sorts of unironically patriotic purposes, not least of all by Ronald Reagan.

With his new single, "We Take Care of Our Own," Springsteen seems to be throwing down a gauntlet: Misunderstand me. Go on, I dare you.

Advance word about the artist's upcoming album, "Wrecking Ball" (due out March 6), has touted the set as "his angriest ever" as well as concerned with themes of "economic justice." So it might be confusing, at least for the first stanza or so, to hear this teaser track bust out of the gate with a seemingly jubilant sound and unabashedly inspirational chorus.

But its deja "USA" all over again, as Springsteen mines the entire lyric with evocations of American promises unfulfilled. There's not a line in the song that isn't riddled with doubt, except for the title one. Every verse is so unremittingly unsure in its patriotism that the only certainty is that Mitt Romney or Newt Gingrich certainly won't fall into Bruce's Br'er Rabbit trap, as Reagan did.

"The road of good intentions has gone dry as a bone," he sings, barely able to squeeze the barbed line into the bar of music allotted. "Where're the hearts that run over with mercy? ... Where's the promise from sea to shining sea?"

It's not just "America the Beautiful" that Bruce references here. When he sings "From the shotgun shack to the Superdome," he's clearly alluding to Woody Guthrie's "This Land is Your Land," which was arguably the most misunderstood song of all time prior to "Born in the USA."

Springsteen may be riffing on The Who when he sings "Where's the spirit that'll reign rein over me." He's almost certainly alluding to the New Testament when he asks, "Where's the love that has not forsaken me."

Which leads to the burning question: When he sings "There ain't no help, the Calvary stayed home," did he intend to say "cavalry" -- a verbal typo, if you will -- or did Springsteen really mean to trade in his political statements for a theological one right there?

Even if Republicans won't be in any rush to embrace the sentiments of rock's most beloved Democrat this time, expect a few to claim this single could still serve as a conservative anthem anyway. "Taking care of our own" is a core tenet of the philosophy formerly known as compassionate conservatism, right?

But as pointed as the song is, it's not entirely clear whether Springsteen means the title refrain as a hopeful affirmation of brothers stepping in to provide a safety net where government won't (or, to conservatives, shouldn't), or whether he's employing it ironically, as a sad taunt about disappearing safety nets.

Either way, there's certainly more to chew on in the lyrics than in the music, which feels sing-songy-repetitive even in the short space of under four minutes. Although E Street Band members play on the new album (along with other musicians), the sound harks back more to Springsteen's highly synthesizer-driven '90s days than any classic signature sound, with the electronic "handclaps" in particular sounding strangely dated.

Here's hoping that, come March, the politically charged "Wrecking Ball" will find just the right balance between E Street and K Street.

(Editing by Chris Michaud)


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Velvet Underground sues to protect its iconic banana

(Reuters) - Rock group The Velvet Underground filed a lawsuit Wednesday seeking to stop its iconic Andy Warhol-designed banana being used on covers for iPads, iPhones or other items.

The 1960s rock band formed by Lou Reed and John Cale accused the Andy Warhol Foundation for the Visual Arts of trademark infringement, claiming in a lawsuit that the banana design is synonymous with The Velvet Underground.

The band said it was taking legal action after reading newspaper reports in the past year that the Andy Warhol Foundation had agreed to license the banana design to a series of cases, sleeves and bags planned for Apple Inc's iPhone and iPad.

Apple is not named as a defendant in the civil lawsuit filed in Manhattan federal court. The Warhol Foundation declined to comment Wednesday.

The banana in question was selected by Warhol and used with the pop artist's signature on the cover of Velvet Underground's 1967 album "The Velvet Underground and Nico," according to the lawsuit.

Although Velvet Underground broke up in 1973, the album later came to be regarded as one of the best albums of all time, and was also referred to as "The Banana Album."

As a result the Banana design, which was never officially copyrighted, "became a symbol, truly an icon, of the Velvet Underground" for some 25 years, the lawsuit said.

"The symbol has become so identified with The Velvet Underground ... that members of the public, particularly those who listen to rock music, immediately recognize the banana design as the symbol of The Velvet Underground," the complaint added.

The lawsuit said the band had repeatedly asked the Warhol Foundation to cease licensing the banana design to third parties "in a manner likely to cause confusion or mistake as to the association of Velvet Underground with the goods sold in commerce by such third parties."

Velvet Underground is seeking an injunction stopping the use of the banana by third parties, a declaration that the Warhol Foundation has no copyright interest in the design, unspecified damages, and a share of the profits made by the Warhol Foundation from any licensing deals.

(Reporting by Jill Serjeant; editing by Patricia Reaney)


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LL Cool J to host Grammys

LOS ANGELES (Reuters) - Rapper and "NCIS: Los Angeles" actor LL Cool J will be the first official host of the Grammy Awards in seven years, the Recording Academy said on Wednesday.

"I'm thrilled to be a part of music's biggest night," said the two-time Grammy award winning host.

"I will always have fond memories of my first Grammy Awards and to now be hosting the Grammy show, in the company of so many other incredible artists, is a dream come true."

LL Cool J, who has been the host of the Grammy nominations concert since its first live broadcast in 2008, is the first emcee of the awards program since 2005 when Queen Latifah headlined. Since then, music's biggest night has foregone a host.

The "Mama Said Knock You Out" rapper will lead a star-studded line-up of performances, including country singers Jason Aldean and Taylor Swift, pop singer Kelly Clarkson, rockers The Foo Fighters, R&B singer Bruno Mars and first-time performer, rapper Nicki Minaj.

Kanye West is currently leading the nominations with seven nods, followed by the Foo Fighters, Mars and British singer Adele, who all have six nominations.

The 54th annual Grammy Awards will be held on February 12 in Los Angeles, and broadcast live on CBS.

(Reporting By Piya Sinha-Roy; Editing by Bob Tourtellotte)


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Music Download Sites - What Makes a Site Legal Or Illegal?


The introduction of music download sites to the internet has revolutionized the way we consume music. Though easier and much less expensive for consumers to get their hands on the latest music from the comfort of their home, the break through began with an illegal method of downloading music which unfortunately opened the door to others that are still around to this day. It is up to the consumer to be educated on which sites and services are legal to use, and which are not. To better understand the legality of music download sites, it is best to take a look at the first popular illegal online music download solution.

The start of illegal music downloads.

In 1999, the world was introduced to the first music file sharing software called Napster. Created by Shawn Fanning, the technology allowed users to share their music files freely with other users. This would bypass the entire legal music market and let anyone who could operate a computer and simple software get their hands on the music they wanted absolutely free. The software quickly became noticed as violating copyright laws as it never had permission from the artists or their labels to distribute these files.

Metallica, a heavy metal act, discovered one of their demo songs "I Disappear" was circulating and even played on certain radio stations before the track was ever released. They were of the first to file a lawsuit against Napster for copyright infringement. A month later, Dr. Dre also filed a lawsuit asking Napster to remove all of his content from the service. These acts, along with many record labels pursued Napster in court for the massive copyright violation.

The media embarked on the story and in turn, indirectly made the service even more popular, putting a spotlight on music file sharing and increasing the amount of active users to over 26 million in Napster's final stages.

On June 3rd, 2002, Napster filed for bankruptcy but the damage was done. The world was introduced to file sharing and online music consumption. Many imitation sites and software sprung up after this incident and to this day, you can still find illegal peer-to-peer file sharing solutions offering illegal music downloads.

So what makes a music download site legal or illegal?

There are very basic principles a music download site needs to follow in order to provide legal music downloads. Simply put, they need permission to distribute each music file on the site from whoever owns the copyright of, or legally represents the music. This can be either the artist, the artists publishing company, and/or in most cases, the artists record label.

In our first example, Napster took copyrighted material and without permission decided to make these files freely available. Neither the artist nor record companies were compensated. This is where the big problem lies. Music is like any other product on the market. Someone or a team of people put time towards creating a song or album and are selling their product. If you want the product, you have to pay a legal distributor of that product so everyone who was involved in creating it gets compensated for their work. If they are not, and have not agreed to make it available for free, you are stealing their product.

With music, stealing songs is infringing on copyright laws which are in place to protect artists and labels, and assure they are in control of who can distribute their art while in turn, getting compensated when someone does buy a copy of a song or album.

I did not know the site was illegal. It is not my fault.

Well, unfortunately any way you look at it, it is your fault. You are responsible for your actions on any music download site or service. The small loop hole in file sharing software and sites is that a user can use it legally. If I create an eBook on the best music download sites for example, and as the writer and sole copyright owner, I choose to distribute it for free to anyone who wants to take a read, I can put it on file sharing software and sites. If anyone downloads it, it is legal as I am not looking for any compensation. In this case, the user of the file sharing software or site is not doing anything wrong.

If a user downloads a copyrighted file from an artist or label that is looking to being compensated and never gave permission to the source of the file to distribute it however, then the user who downloads it can get into trouble and it is completely their fault for not doing their research before downloading the music file.

How do I know if a music download site is legal or illegal?

In order for any music download site or service to distribute music files legally, they need a distribution agreement with the artists record label. To make things simple, if you are looking for music from top 40 artists, most of these acts are signed to one of the major record labels; Warner Music Group, EMI, Sony Music Entertainment, and Universal Music Group. A music download site would need a distribution agreement with these companies to legally make this music available on their site.

If a music download site went through the trouble of putting together a distribution agreement with the 4 major labels, chances are they are proud of the accomplishment and would have this written somewhere in their "FAQ" or "About Us" section of the site. If it is not written, it is up to you to contact them and make sure they have the legal right to distribute the music files you are looking for before you download anything from them.

In the end, our generation has the luxury of having many legal music download sites available to us. It is simply a question of doing a little research before hand and making sure you go with a site that suits your needs, has the music you are looking for, but more importantly, offers legal music downloads which rightfully compensate artists for their work.




If you are looking for the best music download sites and services, visit my homepage where I provide up to date ratings and reviews on only the top legal music download sites on the net.

Happy downloading!