Four – initial thoughts on the new iPhone 4.

My belated Father’s Day gift this year was a brand, spanking new iPhone 4 32mb!  So, now that I’ve been using it for about two weeks, I decided to share my thoughts and insights, particularly since I’ve previously blogged about my love/hate relationship with Apple and the predecessor phones.  I am a staunch Windows 7 user, and have my doubts about the seriousness of anyone who uses the Apple operating system!  Just kidding really.

Without a doubt, the first thing you notice about the new iPhone is the superior clarity of t he 960x640 screen. It’s brighter, fonts are clearer, pictures more vibrant and, overall, it’s simply much more impressive.  Don’t’ take my word for it, hold one up next to your old iPhone and you’ll see the difference instantly.  The 480x320 screen on the older phones appear almost muddy by comparison.  Apple doubled the pixels per inch, and it shows.  They also increased the contract ratio to 800:1.  In the end, the resolution upgrade alone is worth the price of admission!

The next design element I noticed was the shape.  The new iPhone 4 is very distinct from its predecessors in its very UN-zen-like feel, stepping toward a more “slate” type approach.  That can be either a good or bad choice, depending upon your perspective, and how much you liked the original Zen-like design.  I personally really liked the “Zen Stone” feel of the original, with it’s rounded back and corners.  My previous model was the white 3g (oh, sorry Apple, I probably shouldn’t mention the “white” right now huh?).  That said, the new shape and feel have grown on me and I actually like the new aesthetics, although it did take some adjustments in my holding style.  The new model is much starker, with metal edges, creating an almost industrial feel (the very same edges that give the iPhone 4 it’s trademark reception problems).  The phone is more slender than its predecessors as well, which gives the misleading appearance of a smaller screen.  It’s not – actually they are identical in size at 89 mm.  The edges also give the appearance that the 4 is thicker than its ancestory.  Again, it’s not.  It’s actually shaved thinner - 2 mm to be precise! 

Putting aside the incredible screen, the next real beauty of this new model is the software revisions.  Many of my faithful readers will recall my constant berating of Apple about the lack of multi-tasking, something the very first Palm Pilots could pull off with ease.  So, how many years and version upgrades have we been through?  Having poked at the giant enough, I will state unequivocally that Apple’s implementation of this mission critical component is very well done.  Two clicks on the home button and up pops a menu at the bottom showing all running applications and allowing you to move between them.  One can, for example, read a book and take notes, or time a runner and jot down the time.  I know, these seem like simple, ordinary tasks, but try that on an older iPhone!  One feature of multitasking that would be an improvement in future version, however, is the ability to shutdown all applications without having to individually close them.  After several hours of use, the multiple applications begin to pile up and exhaust valuable resources.  But, that caveat expressed, I am SO happy to have multi-tasking on my iPhone.  I was beginning to miss those days with my Palm.

Another one of my expressly desired features that did NOT appear on this new model is the week view in the calendar.  It might sound like a petty request, but in the business world, many people rely on the week view for advance planning and scheduling.  And please, don’t tell me about the “List” view - a more useless apparatus I have never witnessed – it is simply not a replacement for the week view!  Ironically, Apple HAS implemented the weekview feature on its enigmatic iPad.  I was so put out when I found this.  “So, why can’t I have it too?” I asked The “Genius” at the store.  She tells me it is planned for a future version, but I don’t know if I trust The Genius.  Apple’s sin is further amplified by the fact that because of its proprietary philosophy it will not allow third party software designers to access the code to their precious default programs, so no one can even design a work around!  Pocket Informant has a beautiful weekview in its application, but you are relegated to using Google Calendar, not the Apple default.  So, this complicates issues with Exchange servers and is not a good work around.  Ok, so enough of my bitching, let’s get back to the many things I LIKE about the 4!

Let’s talk folders!  Another sadly missing item was rectified by the new operating system by the addition of the foldering system.  Now, instead of 10 or so unorganized pages containing a hodge podge of programs, I have one main screen with my most utilized programs, and a page and one half of folders!  An organizational system in a Personal Information Manager, imagine that!  It’s truly great. 

There are, of course, many other wonder additions on the iPhone 4 – the 5 mp camera and front facing camera, video conferencing, gyroscope, etc. --  but these are my initial thoughts.

Over the next few months, I will be sharing some of my favorite applications on the iPhone with you, but suffice it to say that the new iPhone is working out quite nicely.  I highly recommend an upgrade if you’re considering it and/or are waivering.  There is a a good comparison at Wikipedia.

Slightly Off-key “Voice of a Generation”

A little history:

February 22, 1990: Pop sensations Fabrice Morvan and Rob Pilatus, a/k/a Milli Vanilli, who achieved international acclaim as a result of their Arista release, Girl You Know It’s True,  win the Grammy for “Best New Artist.”    Soon, the rumors began to swirl that Morvan and Pilatus were not actually singing on the records as had bee n reported in the press.  So intense were these rumors that on November 12 of that same year, Frank Farian, creator and producer of the Milli Vanilli project, confessed that Morvan and Pilatus did not actually sing on the records.  Four days later, Milli Vanilli’s Grammy was “withdrawn,” and Arista dropped them.  After the details emerged, the controversy spurned over 26 different lawsuits across the country under various consumer protection laws.

Early 1992: New Kids on the Block’s song If You Go Away peaks at #16 on Billboard as an associate producer on one of their earlier albums allege that the band lip-syncs to performances by Maurice Star, and that Star actually sang many of the parts on their albums.   As the story develops, the band cuts short a tour to appear on The Arsenio Hall Show to perform a medley of their hits.  During the subsequent interview, the band admits to using Star’s vocals as a backup track during their live performances, and admit that Star sang harmonies on some of their background vocals.   The band never recovered from the backlash, and their record sales steadily declined from that moment.

November 6, 2009: Hundreds of angry fans in Perth, Australia, walk out of Brittany Spears’ Circus concert when it becomes apparent that she is lip-syncing to her songs.

Fast forward to:

January 31, 2010: Taylor Swift wins four Grammys: Album of the Year and Best Country Album for Fearless, Best Female Country Vocal Performance and Best Country Song for White Horse.  Swift, who is by all accounts an extremely talented songwriter, gave a stunningly weak vocal performance during her duet with Steve Nick’s that drew starkly negatives reviews from professionals and amateur press/bloggers alike.  For example, Bob Lefsetz described her performance as “dreadful” and opined that she may have single-handedly imperiled her career with this one performance.  The general consensus is that her Grammy performance is not an isolated incident.  Truth is, most professionals in Music City are aware of Swift’s inferior vocal talents – almost every conversation about Swift in this city includes one or more references to “auto-tune” technology.

The query then is this: is there a significant difference between a digitally-created rendition of a vocal performance and using a superior vocal performance from an singer who is not marketable to front a more attractive and marketable duo, a/k/a Milli Vanilli or to using a backup track (even of your own vocal as in Spears’ case) to enhance your live performance.  Isn’t the former example simply a modern, technological replacement for the latter?  If so, then the question becomes why is today’s society not as outraged at Taylor Swift as past society was at Milli Vanilli, New Kids and Spears?

In his response to criticism of the Grammy performance, Scott Borchetta, president and CEO of Swift's record label Big Machine Records, offers this explanation for this discrepancy:

Maybe she’s not the best technical singer, but she is the best emotional singer. Everybody gets up there and is technically perfect people don’t seem to want more of it. There’s not an artist in any other format that people want more of than they want of Taylor. I think (the critics) are missing the whole voice of a generation that is happening right in front of them. Maybe they are jealous or can’t understand that. . . .   No one is perfect on any given day. Maybe in that moment we didn’t have the best night, but in the same breath, maybe we did.

Borcetta gets no argument from almost anyone I know in the industry that perhaps Swift is not the best technical singer.  But I’m not sure the explanation that Swift is the “voice of a generation” does much to address the underlying issue: The Grammy for Best Female Country Vocal Performance went to singer who, even her label head admits, is not the best technical singer!  Swift’s Fearless live performance tour is sold-out!  In her defense, Borchetta goes on to say “If you haven't seen her live performance, you're welcome to come out as my guest to a Taylor Swift show and experience the whole thing, because it's amazing.”  But if the show’s audio is auto-tuned, how does this amazing experience differ from a Brittany Spears’ lip-synced performance, if at all?  Let’s not forget, in their days, the fans also “wanted more” of Milli Vanilli, New Kids on the Block and Brittany Spears.

Someone else once phrased it this way:

“It’s not about being authentic anymore, it’s about being entertaining.” 

Interestingly, this was a quote from Morvan of Milli Vanilli in a USA Today article in 2010.   Morvan goes on to say

“Twenty years later, what we were crucified for you see everywhere.”

He right, is he not?  Let’s be honest.  In America, at least, pop music has almost always produced a certain amount of, shall we call it, “manufactured product” - performers who were either assembled, created or otherwise the entertainment value.  My first disillusionment with this came in the form of The Monkees when I discovered that they were a band “assembled” by Bob Rafelson and Bert Schneider as an American “Beatles” alternative, i.e., as a means of capitalizing on the success of the Beatles.  As technologies become more and more sophisticated, this trend toward entertainment value over authenticity is naturally going to increase.  It used to be a little more difficult to go back and “overdub” a particular performance which was out of tune or offbeat, because the engineer had to physically rewind the tape, record the alternative part on a separate recording track, and then sync the new part into the old one.  A bit more time consuming.  Now, we have software which can independently correct not just the pitch, but an isolated note out of a chord which may be out of tune for one reason or another.  It’s a matter of moving the mouse over the note, highlighting it, and correcting it.  Wow!

I suppose the real question, then, is what do we want from our performing artists, whether it be a live performance or a recorded one?  For me, I think I prefer simple honesty.  Or, as Milli Vanilli ironically put it, “authenticity.”  I like to hear performers with technically superior skills performing the music they created.  I do agree with Borchetta that everyone is not perfect, and that many people prefer a live performance that has the feel of being non-technical.  After all, who can forget that off key guitar note at the end of the Allman Brother’s recording of Statesboro Blues (a note which they DO NOT replicate in a live performance), or some of John Bonham’s almost syncopated rhythms on Black Dog?   Those are authentic performances by persons with superior, technical skills. And this is precisely where I think where I differ from Borchetta:  I personally think most people do expect their celebrities to be technically superior, at least with regard to their perceived talents. 

Judging from prior examples such as Milli Vanilli and Brittany Spears, and the audiences’ reaction to those performers, people have an expectation that an artist will be able to actually perform the music that was marketed to them through the media.  In other words, most people expect their performers to be authentic.  Now, maybe Borchetta is correct, that Swift is, in fact, an authentic person who can communicate well through her gift of songwriting - again that’s not the real issue.  The real issue is that Swift is portrayed as more than a songwriter, she is portrayed as the performer with the “Best Female Country Vocal Performance.”   The fact is, Duane Allman, although he might hit an off key note once and awhile, was a technically superior guitarist.  John Bonham, even though that one performance might fade slightly off the beat for a brief moment, was a technically superior drummer.  However, no matter how many tours she sells out and no matter how many millions of CDs she sells, Taylor Swift, while an amazingly-talented songwriter,  will never be a technically superior vocalist.   Not to worry, though, she will most certainly always be the slightly off-key voice of a younger generation of admirers.  Or will she.  Time will tell I suppose.  But lest we put too much stock in past success as an indicator of future fan support, don’t forget, Milli Vanilli’s record was also multi-platinum.

HR 848 passes committee

Rep. John Conyers, Chair of the House Judiciary Committee brought the Performance Rights Act (HR 848) up for markup this morning. 

HR 848 created no small amount of disagreement among radio broadcasters, minority broadcasters, trade unions and civil rights groups.  However, a group  of minority artists, including Duke Fakir of the Four Tops, Dionne Farris and Jon Secada, recently sent a letter indicating support for Rep. Conyers and this legislation.  The letters stated in part: 

As minority artists, we support a strong and vibrant local radio industry. We know that minority broadcasters play a vital role in our communities. And we support efforts to create accommodations in the legislation for small, minority-owned stations. But the creation of a fair performance right cannot be delayed further. We have already waited far too long. “Not now” is not an acceptable answer.

To address the concerns of minority broadcasters, Conyers offered the following amendments at today’s markup:

Affordable payment for small, rural, nonprofit, minority, religious and educational broadcasters

· Any station that makes less than $100,000 annually will pay only $500 annually for unlimited use of music

· Any station that makes less than $500,000 but more than $100,000 annually will pay only $2500 (half of the amount in introduced bill) annually for unlimited use of music

· Any station that makes less than $1,250,000 but more than $500,000 annually will pay only $5000 (the amount in introduced bill) annually for unlimited use of music

Relief for current economic situation

· No payment for 2 years by any station that makes less than $5,000,000 annually

· No payment for 1 year by any station that makes more than $5,000,000 annually

Parity for all radio services

· Establishes a “placeholder” standard to determine a fair rate for all radio services that will encourage negotiations between the stakeholders

Cannot hurt local communities

· Assures that this legislation cannot affect broadcasters public interest obligations to serve the local community

Assures consideration of relevant evidence

· Evidence relevant to small, noncommercial, minority, and religious broadcasters and religious and minority royalty recipients must be considered by the Copyright Royalty Judges

Other minority and civil rights groups that sent letters expressing support for the act included the Leadership Conference on Civil Rights, Pennsylvania Legislative Black Caucus, Rhythm and Blues Foundation and the A. Phillip Randolph Institute.

The executive director of the musicFIRST Coalition, Jennifer Bendall, supported the committee’s decision:

“We applaud Chairman Conyers and Committee members for their work on the Performance Rights Act and for supporting artists, musicians and rights holders in their fight for fair compensation when their music is used by AM and FM radio stations.

The Performance Rights Act will bring fairness to artists, musicians and rights holders and one that’s fair to radio and its counterparts. It also includes accommodations for small and minority-owned broadcasters. musicFIRST looks forward to the next chapter and to Congress to ensure that U.S. artists and musicians receive the performance right they deserve.”

Now that HR 848 has cleared the committee, it will be brought in front of the entire House for debate and vote. 

Technorati Tags: Performance Rights Act,Legislation,Radio Broadcasters,PROs,music industry Events

Law on the “ROAD”

Starting in June, the author of this blog, Law on the Row  - 20-year entertainment attorney veteran Barry Neil Shrum - will be taking the show on the road!  On June 5, 2009, Mr. Shrum will conduct the first of a series of national seminars called MBA, Music Business Academy. 

Mr. Shrum initiated this series of seminars to address a perceived need in the industry: that a growing number of artists, entertainers and songwriters who might benefit from the expertise of an entertainment attorney, could not afford to retain an attorney and get the help they need due to upfront fees and retainers.  To this end, the mission statement for MBA is “music business education for the do-it-yourself generation!”  This unique series of one-day sessions will provide the upcoming and established mid-tier artist, musician, songwriter and other music industry professionals with a cost-effective method of obtaining an essential legal foundation for day-to-day music industry survival. 

The goal of the seminar is to create a sense of being in the client chair, Mr. Shrum will unravel the essential provisions of various industry-specific agreements  - bringing clarity to the legalese and identifying red flags in the “small print.”  Some specific agreements covered in the MBA session are:

*    the exclusive recording agreement (and the new 360 deal)
*    the exclusive songwriting agreement
*    the personal management agreement

For the do-it-yourself generation, Mr. Shrum will also explain the details and implications of guerilla marketing on the web.  He will explore the typical iTunes deal as well as other online distribution issues relevant to today’s guerilla marketers.

When asked about the seminar, Riq Lazarus, of Lazarus Management Group, said:

"Barry Shrum gets it!  The music business is undergoing radical change.  It is absolutely essential that today's artists have an understanding of the legal issues facing them in this new era of "do-it-yourself" broadcasting.  And because he has the heart of a teacher, Barry's immense knowledge and experience enables him to empower you with the understanding you need to protect your creations."

It is Mr. Shrum’s goal that attendees walk away from the seminar with a functional understanding of basic copyright, trademark and contract law — a virtual “MBA” in the music business!  Attendees will also receive specialized written materials as a continuing reference and valuable resource and are given the opportunity to purchase reduced rate legal services from Mr. Shrum.

The date of June 5, 2009 has been set for Chattanooga – the day before the Riverbend Festival - and plans are in the works for seminars in Denver, Colorado and Charlotte, West Virginia.   Other cities under consideration are Austin, Texas, Baltimore, Maryland, Boston, Massachusetts, Atlanta, Georgia, Philadelphia, Pennsylvania.  To see if your city is being considered, or to vote for your city, take the online poll.

General information about the seminars can be found here.  A detailed agenda of the Chattanooga seminar can be found at the event website:  www.musicbusinessacademy.info

 

Register Now! online event registration by RegOnline

Technorati Tags: Music Business,Seminar,Music Law,Music Publishing Contracts,Exclusive Songwriting Agreement,Exclusive Recording Agreement,Record Contract,Personal Management Agreement,Music Industry

Judiciary Committee holds hearings on HR 848, the “Performance Rights Act”

The House Judiciary Committee will hold hearings on H.R. 848 (this year’s version of HR 4789) tomorrow morning at 10:00 a.m.  Although the Committee’s website does not identify any witnesses at this time, I am informed by musicFIRST that Smashing Pumpkins’ founder Billy Corgan and Mitch Bainwol, chairman and CEO of the RIAA will be speaking on their behalf at the hearing.

H.R. 848 was introduced to the 111th Congress by Rep. John Conyers on February 4, 2009 then referred to committee on the same day.  It was co-sponsored by Tennessee representative, Marsha Blackburn.  If passed, HR 848 would amend The Copyright Act (specifically Title 17) to provide “parity in radio performance rights” under the Copyright Act.  In other words, the Bill would grant a performance rights in sound recordings performed over terrestrial broadcasts (i.e., traditional radio broadcasts, not satellite).   S. 379 is the Senate’s complimentary bill, introduced by Senator Patrick Leahy.

The act has certain provisions to accommodate concerns by the broadcast industry, such as the provision which establishes a flat annual fee in lieu of payment of royalties for individual terrestrial broadcast stations with gross revenues of less than $1.25 million and for non-commercial, public broadcast stations; the provision which grants an exemption from royalty payments for broadcasts of religious services and for incidental uses of musical sound recordings; and the provision which grants terrestrial broadcast stations that make limited feature uses of sound recordings the option to obtain per program licenses. 

The Act specifically states that it will not adversely affect the public performance rights or royalties payable to songwriters or copyright owners of musical works.   In particular, the Act prohibits taking into account the rates established by the Copyright Royalty Judges in any proceeding to reduce or adversely affect the license fees payable for public performances by terrestrial broadcast stations. Requires that such license fees for the public performance of musical works be independent of license fees paid for the public performance of sound recordings.

The full text of the bill can be found at govtrack.us.

One provision I found interesting was Section 6, (1)(A), regarding payment of certain royalties, that states, in full:

A featured recording artist who performs on a sound recording that has been licensed for public performance by means of a digital audio transmission shall be entitled to receive payments from the copyright owner of the sound recording in accordance with the terms of the artist's contract.

Emphasis added.  This last clause intrigues me.  What I find interesting about it is that under the current structure, the record labels own most, if not all, of the commercial sound recording masters, i.e., they are the “copyright owner of the sound recording.”  This clause entitles the “featured recording artist,” e.g., Madonna, Michael Jackson, etc., to receive payments from the owner “in accordance with the terms of the artist’s contract.” 

In most artists’ contracts, payments are based on a percentage of the gross revenues from sales of physical units – current artist contracts do not have provision for payment of performance royalties on the sound recording.  It would seem that under the Act as written, there is silence as to what happens in this instance where these specific payments of performance royalties are not addressed in the artist’s contract.  One possible remedy would be for the legislators to draft language that would apply, such as what they have done with regard to the “non-featured artists in subsection (B) of the same Section 6.   This Section 6 is not found in the Senate’s version of the legislation.

All of this makes me curious about what will happen to performance royalties that are paid under this Act to the owners of the sound recording copyrights, i.e. the record labels if there is no language in the artists’ recording agreements to specify as to what percentage the artist is entitled?  One thing is certain:  an artist who is not recouped under his artist recording agreement will never see any of these performance royalties under such time as his balance is recouped.

One proposal you might suggest to your representatives is that they consider a payment structure similar to that of the current performance rights organizations that collect and pay performance royalties for musical compositions, wherein one half of the royalties go directly to the songwriter and the other half directly to the publisher.  If this were the case under the new Act, half of the royalty payments would filter directly to the artist and the other half would go to the record labels.  If there truly is a concern about the recording artists not getting paid for his or her performances, this is the only method that would assure this happens.

If you are a recording artist whose performances are being playing on local FM and AM radios, you should investigate the impact this legislation will have on you.  Call you Senators and Representatives and ask them to keep you updated.

Technorati Tags: legislation,HR 848,performance rights act,2009,111th Congress,record labels,music industry,entertainment industry,recording contracts,entertainment law,music law,music lawyer

Randy Owens receives “Artist Humanitarian Award”

Country Radio Broadcasters, Inc. today announced that country legend Randy Owens was the recipient of this year’s Artist Humanitarian Award. 

Together with his cousins Jeff Cook and Teddy Gentry, Owens was the front man for the one of the best selling country acts of all time, Alabama.  The band, which peaked in the 80’s, racked up over thirty No. 1’s on Billboard’s Country Singles Charts, with memorable hits such as “Love in the First Degree,” “Feels So Right,” “Close Enough to Perfect” and “Take Me Down.”  They also sang backup vocals on Lionel Richie’s 1987 single “Deep River Woman,” which peaked at No. 10.  The group has won two Grammy Awards for "Best Country Performance By A Duo Or Group With Vocal" in 1982 for Mountain Music and in 1983 for The Closer You Get.

Owen co-founded Country Cares for St. Jude Kids® in 1989 after meeting St. Jude Children's Research Hospital founder Danny Thomas the year before.  To date, Country Cares has raised more than $345 million to fund research in the fight against childhood cancer.  Earlier this year, more than 800 members of the country music industry gathered at the annual seminar in Memphis to celebrate 20 years of support for the children of St. Jude.  In 2008, Broken Bow Records released the Grammy Award-winner's debut solo album, One On One, and HarperOne published his memoir, titled "Born Country." 

Country Radio Broadcasters, Inc. leads the music industry in recognizing the humanitarian achievements of country artists.  In 1990, CRB instituted the Artist Humanitarian Award, which was first presented during the CRS-21.  Past honorees include Brad Paisley, Brooks & Dunn, Garth Brooks, Charlie Daniels and Kenny Rogers.  For a complete list of past winners, click here.

Last year's recipient, Clay Walker, presented Owen with the award Wednesday morning during the award ceremonies in the Convention Center. 

The Radio Humanitarian Awards for 2009 went to 97.3 WGH, Norfolk-Virginia (Large Market), 107.7 WIVK, Knoxville, Tennessee (Medium Market) and 93.3 WFLS, Fredericksburg, Virginia (Small Market).  The CRB Radio Humanitarian Awards are presented to full-time country radio stations for their efforts to improve the quality of life for communities they serve. 

This year's Tom Rivers Humanitarian Award was given to CBS Minneapolis VP Market Manager Mick Anselmo, Sr.  During his tenure at KEEY-FM, Anselmo organized and created a radiothon which has helped raise more than $12 million for St. Jude Children's Research Hospital.  His partnership with Sharing and Caring Hands of Minneapolis during a run of Garth Brooks concerts in 1998 set a Minneapolis-St. Paul food drive record.  The former Clear Channel radio executive also created Project Northern Lights, an effort that collected calling cards for troops stationed in Baghdad.

The intent of the Tom Rivers Humanitarian Award, given at the discretion of the Country Radio Broadcasters Board of Directors, is to recognize an individual in the Country Radio industry who has displayed a magnanimous spirit of caring and generosity in service to their community.  The award is given when the board feels an individual, through outstanding service, warrants the recognition. 

Congratulations to Randy and the other winners.

Technorati Tags: CRS-40,Country Radio Seminar,Artist Humanitarian Award,Randy Owen,Teddy Gentry,Alabama,Jeff Cook,Country Music Hall of Fame,Country Music,Nashville

Oscar-nominated short film “I Met the Walrus”

As a Beatles fan, I thought I’d share this interesting little film, which animates an interview which Jerry Levitan conducted with John Lennon in 1969 when Levitan was only 14. 

Just to give a little historical perspective, 1969 was the year that Abby Road was released, the Beatles performed together for the last time, and was the year that Lennon and Yono conducted their famous “Bed-In” in Montreal Quebec.  A lot happened in 1969:  it was a time when the space race was in full force, with Russia and the U.S. leap-frogging each other into the great frontier, culminating in the U.S. landing the first man on the moon, Apollo 11, with Neil Armstrong’s famous “one small step for mankind”  proclamation.  The Cold War with Russia was at a boiling point.  It was a tumultuous time:  Nixon was president, the Vietnam war was in full force, the draft lottery was held for the first time since WWII, and Nixon proclaim the “Nixon Doctrine” that he expected Asian allies to be responsible for their own military defense.  Antiwar demonstrations were at their peak, so much so that Nixon asks for the “silent majority” to join in solidarity in support of the troops.  Some events that changed our lives forever that year include: a little Arkansas corporation called Wal-mart is formed, the first GAP store opens in San Francisco, the AIDS virus first spread to the US, the first automatic teller machine was installed in the US in Rockville Centre, New York and the first ARPANET link, the ancestor of the Internet, was established.  Culturally, Monty Python’s Flying Circus debuts in the UK, Sesame Street premieres, and the New York Jets defeated the Baltimore Colts in Superbowl III.  Notable births that year included Brett Favre, Catherine Zeta-Jones, Matthew McConaughey, and Jennifer Lopez.  Notable deaths include Dwight D. Eisenhower, King Saud (Saudi Arabia), Judy Garland, Boris Karloff and Rocky Marciano.

Levitan produced the I Met the Walrus.  In 2007, he hired Josh Raskin to direct and animate the short film.  It was illustrated by James Braithwaite, who Levitan described as “brilliant.”  It has won numerous awards, including the Best Animated Short awards from the American Film Institute, the Middle East International Film Festival, the Manhattan Short Film Festival, the Cleveland Film Festival, RiverRun International Film Festival and the Coup de Coeur award from the Regard-Saguenay International Sort Film Festival.  It was nominated for an Academy Award (Oscar) in 2008 by the Academy of Motion Picture Arts & Sciences.

Jerry Levitan informs me that he written a book by the same, I Met teh Walrus, which comes out in May under the Harper Collins imprint.  You can find out more about Mr. Levitan at www.sir-jerry.com. 

Thanks to my good friend Gray for turning me on to this film.

See these related links:

Film company website.

Read more about the film here.

Technorati Tags: John Lennon,I am the walrus,entertainment,music,Beatles

musicFIRST defends rights of artists

By Jennifer Bendall, Executive Director of musicFIRST

Did you know that every time you hear your favorite artist’s hit songs over the airwaves he or she doesn’t receive a single penny from the radio stations broadcasting the song? Sounds crazy, right? While AM and FM music broadcasters rightly pay the writers of these songs, they refuse to compensate the performing artist as the performer of the song.

In fact, AM and FM music radio stations earn a cool $16 billion a year in advertising revenue without compensating the artists and musicians who bring music to life and listeners’ ears to the radio dial.

The fight for a fair performance right on radio has been going on in the U.S. for more than 80 years. Frank Sinatra was a leader in this fight 20 years ago, and his daughter Nancy carries the legacy today. In 2008, Nancy Sinatra testified before a House subcommittee on behalf of the musicFIRST (Fairness in Radio Starting Today) Coalition, telling members of Congress about the life of an artist:

Imagine struggling in your job, perhaps for years, to make the best product you can – a product made of your blood, sweat and tears. Now imagine people taking that product to use to build their own hugely successful businesses. Just taking it – no permission, no payment, and no consequence.

A fair performance right is not only beneficial for the musicians and artists behind the music, but also for the U.S. economy. Currently, the U.S. is the only member of the 30-country Organization of Economic Cooperation and Development (OECD) that does not fairly compensate performing artists when their songs are played on the radio. This puts the U.S. in the company of countries such as Iran, China and North Korea who don’t pay royalties to performers for their intellectual property. Plus, since we don’t have a performance right here in the U.S., artists lose out on the royalties collected overseas for the play of American sound recordings.

The musicFIRST Coalition, a group of artists, musicians and music community organizations, supports the creation of a performance right on AM and FM radio. The Coalition formed in June 2007 to ensure that all performers – from aspiring and local artists, to background singers and well-known stars – are fairly compensated when their music is played on the radio. On February 4, 2009, bipartisan legislation – the “Performance Rights Act” – was reintroduced in the House and Senate. MusicFIRST supports this measure and plans to remain at the forefront of the fight for fair pay for airplay.

AM and FM radio remains the lone holdout in providing a fair performance right for artists and musicians. All other music platforms – Internet radio, satellite radio and cable television music channels – pay a fair performance royalty for the use of music. It’s time that radio broadcasters are held to the same standard.

Eighty years is far too long for AM and FM radio stations to refuse to compensate performers for their work. Let this be the year fairness is provided to the talented performers who bring to life the music of our lives.

My special thanks to guest author of today’s article, Jennifer Bendall, and Lindsay Dahl for making this article happen.  For more information about musicFIRST and the great work they’re doing, go to www.musicfirstcoalition.org, or click on the picture above.

Technorati Tags: performance royalties,mechanical royalties,artist,music lawyer,radio broadcasts

ASCAP songwriters to perform at CRS-40’s KCRS Live! showcase

Country Radio Broadcasters, Inc. today announced the lineup for this year's KCRS Live! event during the radio industry event, CRS-40, scheduled for March 4 - 6, 2009 at the Nashville Convention Center.  The ASCAP-sponsored KCRS Live! event will Wednesday, March 4 from 5-6:20 p.m.

The event almost always features some of Nashville’s top songwriting talent.  ASCAP writers and artists scheduled to perform this year include the following:

Jimmy Wayne - Jimmy Wayne's "Do You Believe Me Now," the title track from his first new album in five years (Do You Believe Me Now), was worth the wait.  The much anticipated release was a Top 5 debut on the Billboard Country Album chart, while the single went all the way to No. 1.  The follow-up single, "I Will," is headed in the same direction.  His first release was a Top 10 success, garnering a string of hits on the Billboard Country chart, including "Stay Gone," "I Love You This Much," "Paper Angels" and "You Are," all co-written by Wayne.  He is scheduled to perform on the "American Saturday Night" tour with Brad Paisley in the summer and fall of this year.

Kelley Lovelace - Franklin, Tennessee resident and graduate of Belmont University, Kelley Lovelace is no stranger to hit songs, having written several that were recorded by artists such as Brad Paisley, Carrie Underwood, Montgomery Gentry, Jason Aldean, Terri Clark, Joe Nichols, Jason Michael Carroll, Kristy Lee Cook, Tracy Byrd and many others.  Fifteen of those songs turned into Top 20 Billboard hits, and 10 of them reached the No. 1 position.  His credits include "Ticks," "He Didn't Have to Be," "The World," "Online," (Brad Paisley), "The Impossible," (Joe Nichols) and "I Just Wanna Be Mad" and "Girls Lie Too" (Terri Clark).

Ashley Gorley - Danville, Kentucky native and Belmont University  graduate Ashley Gorley scored his first No. 1 with Carrie Underwood's 2006 hit "Don't Forget To Remember Me."  In 2008, Carrie brought him his second No. 1 with "All-American Girl."  His third chart-topper came only a few weeks later with Trace Adkins' No. 1 smash, "You're Gonna Miss This." 2009 began with yet another No. 1 hit, the Brad Paisley / Keith Urban duet "Start A Band."  Gorley has already won three ASCAP Awards and been nominated for two Grammys and a CMA Award.  His most recent single is Darius Rucker's "It Won't Be Like This For Long."

Jonathan Singleton - Music Row's "Breakthrough Songwriter of the Year" in 2008, Jonathan Singleton announced his presence in Nashville with the 2007 Gary Allan smash "Watching Airplanes," a song that earned him an ACM nomination for Single of the Year.  The Jackson, Tenn. native is also a performer, recently playing gigs opening for artists like Joe Nichols, Phil Vassar, Carrie Underwood, Jason Michael Carroll, Blake Shelton and Eric Church.  Singleton also wrote the latest Billy Currington single "Don't," and was featured in a recent "Legends and Lyrics" episode on PBS.

"We look forward to KCRS Live! every year.  It gives ASCAP an opportunity to showcase some of our best songwriter/artists to radio in a more intimate setting," said Connie Bradley, ASCAP Sr. VP.

"For years, KCRS Live! has showcased some of Nashville's finest songwriters at Country Radio Seminar.  This year looks to be no different, and we are grateful to have ASCAP once again sponsoring this event," added CRB Executive Director Ed Salamon.

More information about the event can be found at www.crb.org.

Technorati Tags: Music Row,Nashville,Music Industry,Radio Broadcasters,Country Music,Songwriters

My interview appearing on Metacafe.com

The interview that I gave to DigimusicTV.com is becoming viral.  Metacafe has it in three parts:

Barry Shrum Entertainment Attorney Part 1 

Barry Shrum Entertainment Attorney Part 2 

Barry Shrum Entertainment Attorney Part 3 

Technorati Tags: Music Lawyer,Music Attorney,Entertainment Lawyer,Entertainment Attorney,Music Row,Copyright Lawyer,Nashville,Tennessee,Copyright Infringement

Barbara Mandrell and Kix Brooks slated for CRS-40 Panel

Country Radio Broadcasters, Inc.® has announced the CRS-40 "Life Of A Legend" panel will feature an interview session of country music legend Barbara Mandrell by host Kix Brooks.

The "Life Of A Legend" panel, sponsored by ABC Radio Networks, takes place Friday, March 6, 2009 at 4:10 p.m.  This panel is the climax of the seminar, and is always highly regarded as one of the most engaging and memorable events of CRS week.  

Brooks (half of superstar country duo Brooks & Dunn and host of American Country Countdown) will interview Mandrell as she reflects on her legendary career in country music.

Mandrell earned her first No. 1 single with 1978's "Sleeping Single in a Double Bed," followed by "(If Loving You Is Wrong) I Don't Want to Be Right."  Mandrell went on to score four more No. 1's: "Years," "I Was Country When Country Wasn't Cool," "Till You're Gone" and "One of a Kind Pair of Fools."  A member of the Grand Ole Opry, Mandrell also starred in her own television series ("Barbara Mandrell and the Mandrell Sisters") and won both the CMA "Entertainer of the Year" and "Female Vocalist of the Year" Awards twice.

"Barbara and the CRS grew up together, and it is particularly appropriate to feature her this year at CRS on the convention's 40th Anniversary, the same year that marks her 40th anniversary with Columbia Records," says CRB Executive Director Ed Salamon. "Barbara Mandrell is a legend in every sense of the word.  She has won countless awards, entertained millions with her television show and influenced so many of today's artists."

This is the fourth year for the "Life of a Legend" panel.  Previous years' lineups included: Gerry House interviewing Kenny Rogers (CRS-37), Eddie Stubbs interviewing Ronnie Milsap (CRS-38) and Norro Wilson and Ronnie Gilley interviewing George Jones (CRS-39).

CRS-40 is scheduled for March 4-6, 2009 at the Nashville Convention Center.  Complete information, including registration, may be obtained by contacting CRB, Inc. at 615.327.4487 or by visiting www.crb.org. 

Technorati Tags: Barbara Mandrell,Country Radio Broadcasters,CRS-40,Nashville,Entertainment

Local 257 elects Pomeroy to replace Bradley

OUT WITH THE OLD

After over 18 years of service to the organization, Harold Bradley is no longer president of Nashville’s Local 257 chapter of the American Federation of Musicians.  Dave Pomeroy was elected president last week by a vote of 675 to 449.  Out of it’s 2620 members, 1165 votes were cast in this election, which is more than double the number of votes cast in the 2005 election. 

This is most certainly the end of an era for Harold Bradley, for whom I have a great deal of respect and admiration.  He began his long services as president of Local 257 on January 1, 1991 and later became the International Vice President serving the AFM’s International Executive Board, a position he will likely retain until 2010.  He received the AFM’s Lifetime Achievement Award in 2006, the same year he was inducted into the Country Music Hall of Fame.  Bradley was also the first president of the Nashville chapter of NARAS and continues to serve as a member of the Grammy organization’s Board of Governors.

Harold and his brother, Owen, built Nashville’s earliest recording facility, Castle Recording Studio, in the early 40’s. As the architect of the Nashville Sound, Harold was part of Nashville’s original “Nashville Cats,” the A-Team, which included such notables as Boots Randolph, Floyd Cramer, Hargus “Pig” Robbins, Buddy Harman and The Jordanaires. 

He is one of the most recorded guitarist in the world, and has been pickin’ on country albums for over 60 years, including work on such classics as Bobby Helms' Jingle Bell Rock, Brenda Lee's I'm Sorry, Roy Orbison's Only the Lonely, Patsy Cline's Crazy, Roger Miller's King of the Road, Tammy Wynette's Stand By Your Man, Eddy Arnold's Make the World Go Away, and Loretta Lynn's Coal Miner's Daughter, just to name a few.

Harold Bradley will always be considered a formidable force in Nashville’s music industry. 

IN WITH THE NEW

Bradley’s replacement, Dave Pomeroy, is a well known and seasoned musician as well, having played electric and acoustic bass on more than 500 albums during his 34 years in the music industry.  Dave has played with artists including Emmylou Harris, Alan Jackson, Elton John, Peter Frampton and Chet Atkins, including work on 6 Grammy-winning projects.  Dave is also an independent producer and has produced numerous projects which can be found on website.

Pomeroy issued the following statement after winning the election:

"I am humbled to be elected to the office President by the members of Local 257. Thanks to everyone who voted and all those who volunteered to help my campaign.

On behalf of all members past and present, I thank Harold Bradley for his many years of dedication and service to this Local and the AFM. I am honored to be carrying on the historic tradition of leading Local 257 as we move into a rapidly changing future.

We have one of the most dynamic, versatile, and innovative music communities on earth, and I look forward to representing the best interests of all Nashville musicians, both here at home and around the world."

Pomeroy will begin his three-year term effective January 1, 2009.

In the same election, Craig Krampf defeated Billy Linneman for Secretary-Treasurer by a vote of 570 to 539.  Re-elected to the Executive Board were Bruce Bouton, Bobby Ogdin, Andy Reiss, Laura Ross, and Denis Solee, who were joined by new members Duncan Mullins and Jimmy Capps.

THE CONTROVERY

There is much controversy surrounding the election, which is viewed by some as “revolutionary.”  The scuttlebutt is that a riff has been developing since 2001 between the leadership of the AFM’s International Executive Board and AFM members who were also members of the Recording Musicians Association, the local chapter of which Pomeroy is president.   The RMA, a player conference sanctioned by the AFM, is a 1400-member organization of studio musicians with chapters in Los Angeles, New York and Nashville,  It is arguably one of the most active conferences in the AFM.

Bradley and Linneman, for better or worse, threw their support behind resolution put forth by Thomas F. Lee, the IEB President, and passed by the IEB in Las Vegas in June 2008, which threatened to “de-conference” the RMA at its September conference. 

Lee’s opposition to the RMA derived from stemmed from his promotion of a deal which eliminated so-called backend new usage “buyouts” of musical scores used in video games, something which the AFM was reluctant to do in the past.  Read more about his in this Variety article.

The lines of battle were thusly drawn, and the Local 257 uprising has been building ever since, with tempers flaring on both sides of the disagreement.  (A detailed, though somewhat biased, historical trail can found on the “Sounds” blog).  As a result of the June vote, Pomeroy and over 150 other local members of the AFM presented a resolution at the executive board meeting of Local 257 calling on the members to censor Bradley for his support of the anti-RMA resolution, which Bradley described as “ridiculous” and to which he responded:

This resolution, submitted by RMA President David Pomeroy, is intended to influence my vote! I will continue to vote my conscience (based on the facts before me), and I resent this attempt to force me to vote otherwise.

This statement appeared in an open letter to Local 257 in the July-September 2008 edition of the Nashville Musician, the Local’s newsletter.  This exchange ultimately led to the controversial election of last week.

The waves of discontent were also felt in Los Angeles, where RMA member Vince Trombetta was elected as Local 47’s president earlier this month, also in an apparent backlash against Tom Lee’s anti-RMA leanings.

The principals of democracy are certainly at work in the AFM, just as they were in the presidential elections this year!

SUMMARY

I know Dave Pomeroy and I  believe he will be a caring and effective leader for the AFM.  I congratulate him and wish him the best in the new endeavor, knowing full well that he has some difficult struggles ahead in leading the opposition. 

I also know and respect Harold Bradley.  Harold is a Nashville icon who has been an effective leader of Local 257 for almost two decades.  I believe he wanted what he thought was best for the musicians and I know that he always had the musicians’ interests at heart.  I thank him for his service to the industry.

But no one is perfect.  While I do not intend to take either side in this debate, I will note that perhaps it was indeed time for a revolution.  There is no doubt now that new leadership is the order of the day. Nashville’s musicians are the backbone of our industry and they deserve adequate compensation and representation.  The majority of them now feel that Dave will do that and I commend their choice.  While no one really likes it when it comes, change is often a good thing.   I hope that at least in the Local 257, egos can deflate to normal and tempests can subside, and harmony can once again return to the organization that is at the heart of Music City.

Technorati Tags: nashville musician's union,afm,american federation of musiciains,local 257,dave pomeroy,harold bradley

Bobby Don releases "Some Sunday"

My client, Ric Landers and Your Place or Mine Digital, LLC were instrumentally involved in the release of the new single, Some Sunday, written by Emmy nominated songwriter Bobby Don Bloodworth and recorded with his band the Gopher Broke Band.  The CD can be purchased here, or you can download and MP3 version.  Here is the YouTube video for the song:

Your Place or Mine Digital operates a multitrack portable digital studio, with mix down and mastering capabilities which Ric can set up at any location. 

Ric's relationship with Bobby Don dates back to 1990 when he was the studio manager and chief engineer for the famous Denny Music Group in Nashville.  The duo decided to take the day off and go fishing on the Piney River when Bobby Don's recording session was preempted by an emergency session for Allison Kraus.  The two have been friends ever since.

Bobby Don wrote Some Sunday as a retrospective on lessons that should have been learned from past wars, especially Vietnam, and to bemoan the hope of a quick end to the current conflict in Iraq.   Bobby Don served in the Navy during Vietnam and knows all too well the pain and loss that goes with the atrocity of war as an eye witness.

CRB Announces Addition of New Board Members

Effective immediately, the Country Radio Broadcasters, Inc.® has announced the addition of three new executives to its Board of Directors:

Clay Hunnicutt, Senior Vice-President of Programming, Clear Channel, Atlanta.  Clear Channel is the largest operator of radio stations in the country.   As the person in charge of programming for Clear Channel's 200 plus country radio stations, Hunnicutt must have an inside track on what's going on in country music.  In an article for the American Chronicle, Hunnicutt says of his job "I love what I do because it affords me the flexibility to not only focus on the Country format but also to be able to look at and understand all formats."  See, Clay Hunnicutt:  Clear Channel's Country Connoisseur. 

Renee' Leymon, Senior Director of National Promotions at Lyric Street Records in Nashville.  Leymon has been part of promotions at Lyric Street Records since 1998, when she landed there after a stint with Arista Nashville; and

Keith Kaufman, has been Program Director at WSIX-FM Nashville since 2004, when he was responsible for making dramatic changes to WSIX's slogan, positioning and airstaff in order to rebuild its "big" position in the country music market.  WSIX is, of course, the mother ship of country radio as the first successful country music formatted station on the FM dial in the US.

The current list of directors to which the trio will be added are identified on CRB's web site (Click here to view).  Hunnicutt fills the void left as a result of Gregg Swedburg's recent resignation.  Kaufman and Leymon fill two newly created at-large positions, which expire in March 2009 and March 2010, respectively. 

The CRB is a non-profit organization founded in 1969 to support the country radio format.  The organization has done a great job at this task over the years by organizing various industry events and seminars across the country, one of which is the well known Country Radio Seminar which is held annually in Nashville.  CRB is also the trustee for the Country Music DJ Hall of Fame, founded in 1974.  Ed Salamon is CRB's current director.

Kaufman and Leymon are also serving on this year's Agenda Committee for the 40th annual Country Radio Seminar.

When asked to comment about the new Board appointments, CRB president and board member Becky Brenner stated "it is always a tough vote because we have so many deserving individuals who apply to serve on the board. These three individuals have been long time supporters of the Country Radio Broadcasters and the Country Radio Seminar. Their individual talents and passion will help to lead us into our next 40 years."

General information about Country Radio Broadcasters, Inc. may be obtained at their website www.crb.org or by calling the CRB office at 615-327-4487.

Technorati Tags: Country Music,Country Radio Format,Country Radio Broadcasters,Nashville,Music Industry

Kristi Lee Cook signs with Nashville Label

According to news reports that broke first on Fox yesterday, then appeared on CMT and Billboard, Kristi Lee Cook, who took seventh place in this year's seventh season of American Idol, signed a recording agreement with 19 Recordings/Arista Nashville, a Sony BMG label.  This is Kristi's second attempt at success on the Arista Nashville brand, as she had a prior deal with the label signed in 1999 at the age of seventeen.  She was dropped from the label before producing any product, despite a commitment from Brittany Spears to appear with her in her first video.

The lawyer in me wonders whether this is actually a new deal, or whether Arista Nashville simply called in its rights under the prior agreement, as most recording contracts are not based on a strict term of years, but rather a length of term that involves delivery requirement.

Arista Nashville is, of course, home to two other American Idol favorites, Kellie Pickler and superstar Carrie Underwood.  In fact, Cook's new master will be produced by the co-writer of Carrie's smash, Jesus Take the Wheel, none other than longtime Nashville songwriter Brett James.

The first song out of the gate, 15 Minutes of Shame, will hit the airwaves on August 11.  The entire album is expected to be on store shelves in the fall.

Past American Idol contestants seem to fair well in the country music  arena, as witnessed by not only the successful careers of the aforementioned Underwood and Pickler, but in top selling product from rocker turned country rock, Bo Bice, Bucky Covington and Josh Gracin, whose albums have topped Billboard's country charts.

Technorati Tags: Country Music,Kristi Lee Cook,American Idol,Arista Nashville,Music Row

Music Row Magazine sold

Music Row magazine has been "Nashville's Music Industry Publication" for 26 years.  Yesterday, Music Row announced that it was being acquired by SouthComm Communications, Inc. 

SouthComm is a Nashville-based media company founded in 2007 by Chris Ferrell and Nashville investment firm Solidus Co., led by Townes Duncan.  Duncan is chairman of SouthComm and Ferrell is CEO.  Their first acquisition was SouthComm Publishing Company, Inc. of Alphraetta, Georgia.

Ferrell was formerly a council person in Nashville and publishers of The Scene, an alternative weekly publication owned by New Times Media of New York.

SouthComm is a custom publishing company focusing on local and niche news, information markets, membership directories and city publications. Music Row joins SouthComm's current stable of publications, which includes the print and digital publications Nashville Post and Business Tennessee.

"I'm a believer in niche publications. My belief about the future of print is that it needs to be very targeted."

Ferrell said in an article for Nashville Business Journal in January of this year.

"The SouthComm collaboration is a great fit," says David Ross, current publishers of Music Row magazine.  He will remain CEO of the industry publication, but will given the position of Vice President for SouthComm and a seat on the Board of Directors.

"Joining a larger organization means Music Row [magazine] will benefit with added resources, efficiencies of scale and cross marketing opportunities. SouthComm also provides added conduits for music industry news to reach a wider network of Nashville business leaders and bolster the process of uniting Nashville's music and business communities."

Music Row's current staff will remain intact, including Ross' wife and partner Susana and Robert K. Oermann, who has appeared in MusicRow for most of its existence.

Technorati Tags: Music Row,music industry,Nashville

Nashville Mayor Announces "Country Radio Week"

Nashville Mayor Karl Dean issued a proclamation declaring the week of March 3, 2008 "Country Radio Week."  The mayor will present the official proclamation to Country Radio Broadcasters, Inc.'s Executive Director Ed Salamon and President Becky Brenner when he officially welcomes attendees to the 39th Country Radio Seminar (CRS-39) on March 5th.

The mayoral proclamation recognizes that "Country radio promotes Nashville tourism daily by broadcasting information about [Nashville] and its attractions. Country radio is the primary medium for exposure of Country music, an endeavor that employs many Nashvillians as artists, writers and producers. "

The 39th Country Radio Seminar takes place from March 5th through the 7th at the Nashville Convention Center.

Ed Salamon, Executive Director of the CRB stated, "We are gratified that Mayor Karl Dean recognizes the considerable economic impact that country radio has on Nashville and Davidson County and has given radio its own week"

This honor reinforces the reputation of the Country Radio Seminar  as the premier forum for education and information for members of the country music industry. Along with continuing education panels for industry professionals, the 39th Annual Country Radio Seminar agenda includes research presentations, artist showcases and discussion forums. Issues that impact country radio sales and programming, as well as the record industry in general, will be covered during the three-day event.

Agenda and registration details are available at www.crb.org or by calling the CRB office at 615-327-4487.

Technorati Tags: Country Radio,Country Music,Music City,Nashville,Nashville Events,Country Radio Seminar,Music Industry,Music Row

The Virtual CFO

Rarely do you get the opportunity to meet with some one who has the same "soul" that you have.  I had an interesting meeting with Scot Justice over the h olidays.  Scot is a fellow blogger who writes the Virtual CF blog over at Typepad.  His article about out meeting can be found here.  Scot and I share a mutual client who found us both through out blogs.  After a good long conversation with Scot, I would recommend him for you small business accounting needs.  Like me, Scot's background is extremely diverse, ranging from small businesses to large corporations.  His experience gives him a very broad base from which to offer counsel to small business clients.  I like what Scot is doing.   One article I found particularly helpful was the one dealing with CPA Mortgage Letters.  Check out his blog!

Technorati Tags: Music royalties,accounting,audit

Brittany Wells to be featured on cover of December issue Indie Islands magazine

As I reported on November 16, 2007, my client, Brittany Wells was, at that time, leading the voting on www.indieislands.com to become the featured artist on the cover of the De-cember issue of Indie Islands, an "emagaz-ine" that focuses on indepen-ent talent. 

The online contest garnered over 133,000 votes and, when the voting ended on December 5 and the votes were tallied, only 18 votes separated the leader, Brittany, and the second place Deby Kelley, an independent artist from Fontana, California. 

Calling the results a "statistical tie," the editors of the magazine exercised their creative license, opted to take the politically correct path, and elected to put both artists on the cover of their December issue (wimps!).  That reminds of  the ending to a similarly close election back in 2000 when the Supreme Court elected . . . well, never mind. 

In third place was former Sony recording artist, Tammy Cochran, who will also be featured on the cover in an inset. The December issue of Indie Islands will be online December 21st.  Be sure to check it out!

Technorati Tags: Brittany Wells,Music Lawyer,Entertainment Lawyer,Music Attorney,Entertainment Attorney