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In 1998, President Bill Clinton passed the Digital Millennium Copyright Act, DMCA, was signed into law. It was signed to keep up with the changes of digital media innovations, and it protects copyrighted material that is accessible on the Internet. How does this law affect Internet radio? It limits radio stations online from copyright infringement and streaming music without paying royalties and licensing fees. This law created a lot of controversy between traditional radio station and radio stations on the Internet. In recent news, the controversy is shedding light again in Congress.

President Obama is now discussing royalty laws with Congress about traditional radio stations. In the current DMCA law, only radio online has to pay a royalty to performers in addition to the songwriter. They have to pay publishing and performance royalties. Currently, traditional radio stations only pay the publishing royalty which is paid to the songwriter and not the singer. Recent headlines in the news now report that the Obama administration is endorsing that radio stations must now pay performance royalties as well.

Record labels and recording artists miss out on money and recognition that is respectably theirs. Internet radio stations and other countries in the world pay the royalties to performers for their hard work to create amazing music and performances. Traditional radio stations in the United States are one of the only institutions that do not pay a royalty to the performer. The DMCA is unfair, and recording artists feel as if they are not being protected under the current copyright law.

Once again there is controversy between broadcasters, radio stations, and artists. A lot of famous musicians whose music is played on Internet Radio and traditional radio have been to Capitol Hill to support the passing of new copyright laws for traditional radio. Broadcasters believe that by passing the new royalty law jobs will be lost and record labels outside of the United States will gain high profits. The National Broadcasters Association believes they should not have to pay the royalty that Internet radio pays because by playing a band’s music they are encouraging listeners to buy their albums.

It is still unclear whether or not this issue will be brought into legislation this year or not. The Obama administration is simply stating that they endorse the performance royalties. Radio stations on the Internet and traditional radio stations play the same music and it is unfair that the Internet has to pay an additional fee. There should be fairness across the board and musicians should be able to collect for their talents.

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Gigs

It is important for a band to have experience performing in front of crowds. Birthday parties, free shows (like basement shows), and talent shows are good sources of experience and do not require a lot of commitment (in terms of fan pull) on the part of the artist. If an artist wants a gig in a bar or nightclub venue, the manager expects several conditions. The following is a list of some questions frequently asked by bar owners/managers

Interactive agencies

Interactive agencies may differentiate themselves by offering a mix of web design/development, search engine marketing, internet advertising/marketing, or e-business/e-commerce consulting. Interactive agencies rose to prominence before the traditional advertising agencies fully embraced the Internet. Offering a wide range of services, some of the interactive agencies grew very rapidly, although some have downsized just as rapidly due to changing market conditions. Today, the most successful interactive agencies are defined as companies that provide specialized advertising and marketing services for the digital space.

Via Models Info :Responsibilities of a business manager are often divided among many who manage various aspects of a musical career. With an unsigned act, music managers have to assume multiple roles: booking agent, graphic designer, publicist, promoter, and accountant.[1]. As an artist’s career develops, responsibilities grow. A music manager becomes important to managing the many different pieces that make up a career in music. The manager can assist singers, songwriters, and instrumentalists in molding a career, finding music producers, and developing relationships with record companies, publishers, agents, and the music-loving public. The duties of an active music manager will focus on a developing a reputation for the musician(s) and building a fan base, which may include mastering and launching a demo CD, developing and releasing press kits, planning promotional activities, and booking shows. A music manager will gain access to a recording studio, photographers, and promotions. He or she will see that CD labels, posters, and promotional materials appropriately represent the band or artist, and that press kits are released in a timely manner to appropriate media. Launching a CD with complementary venues and dates is also a music manager’s responsibility.

Via Models News

Note that the agent’s job is to get the talent auditions; the talent is the only one who can get the job. For their work, agents take a 10 to 20% commission of the gross, depending if the job is union (such as SAG-AFTRA) or not. Union jobs are paid per negotiated guidelines, but sometimes in non-union jobs the pay is delayed.

A well established agent will have a number of contacts. Also, agents have access to Breakdown Services. Breakdown Services allows them to see many roles that casting directors are seeking, often on a national level. These are not available to the general public.

Well-known current and former talent agents include Ari Emanuel, Lew Wasserman, Johnny Hyde, Sue Mengers, Freddie Fields, David Begelman, and Irving “Swifty” Lazar.

Am I too young , too old, too heavy, too light, too this or too that?
Via Entertainment represents talent from 2 years and up. Via embraces a wide range of diversity, color, age, and sizes. Please remember that for the commercial and film industry talent should reflect “real life” people, thus, incorporating a wide variety of diversity, color, age and sizes.

Via Models & Entertainment Sites : Music managers

A music manager may be hired by a musician or band, or the manager may discover the band, and the relationship is usually contractually bound with mutual assurances, warranties, performances guarantees, and so forth. The manager’s main job is to help with determining decisions related to career moves, bookings, promotion, business deals, recording contracts, etc.

Via Models & Entertainment Info Many of the major booking agencies refuse to represent clients who are not already signed to a major record label and have national distribution of their music. Because of this, artists on independent record labels often seek representation with an independent booking agency.

Bars and nightclubs that specialize in presenting live music on a regular basis often employ an individual to assemble the schedule of events. These people are the venue’s buyers, and should not be confused with the booking agent, who presents their roster of available acts to the buyer. Booking agents may also have contacts known as free-lance promoters. These are individuals that agree to produce a concert by locating a venue, providing a sound system and assembling a staff. Producing a show in this manner, at a location that is rented out for a single evening, is called “four-walling,” as it entails renting a venue and receiving no additional services or technical equipment other than the space itself. This has often been the only available option for underground musicians lacking enough popular appeal to gain access to more conventional performance venues (see: Punk rock), but is also used among the genre of raves and various DJ-related events.

Via Models & Entertainment Sites Note that the agent’s job is to get the talent auditions; the talent is the only one who can get the job. For their work, agents take a 10 to 20% commission of the gross, depending if the job is union (such as SAG-AFTRA) or not. Union jobs are paid per negotiated guidelines, but sometimes in non-union jobs the pay is delayed.

A well established agent will have a number of contacts. Also, agents have access to Breakdown Services. Breakdown Services allows them to see many roles that casting directors are seeking, often on a national level. These are not available to the general public.

Well-known current and former talent agents include Ari Emanuel, Lew Wasserman, Johnny Hyde, Sue Mengers, Freddie Fields, David Begelman, and Irving “Swifty” Lazar.

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1956,November 16, Elvis’s first movie, Love Me Tender, was released. (Clint Reno)

The movie seemed to be a failure, but a box office success; Elvis was the main attraction and the demand so great that Twentieth Century-Fox had to distribute almost double their usual prints of a first run movie.

The critics quickly dismissing the movie and marked it as a B grade melodrama.

But what the critics didn’t see was the fact that Love Me Tender is a classic love story.

But for as long as Elvis lived he would be bothered by the poor quality of the scripts and songs.

1957,July 9, Elvis released his second movie, Loving You, (Deke Rivers) this movie dealt with the theme of troubled youth.

Elvis’s hair was naturally light brown but dyed it a darker shade, later he would keep it as he preferred, the color blue-black.

1957, October, Jailhouse Rock, was released. (Vince Everett)

It is considered by many to be Elvis’s best movie Elvis enjoyed the vigorous Rock-and-Roll score, as he threw himself into the main role.

Elvis himself choreographed the title number. And to this day remains a Rock and Roll classic.

1958, June 4, While Elvis training in the Army at Fort Hood, Texas King Creole was released by Paramount. (Danny Fisher)

King Creole is remembered as one of Elvis Presley’s best movies, and is probably the only one that was ever taken seriously by the critics, the good reviews of the movie filled Elvis with deep satisfaction and accomplishment, which would stay with him right up until his mothers sudden death.

1960, October, G.I.BLUES, (Tulsa McLean) was Elvis’s first movie after two years in the Army, then Flaming star, (Pacer Burton) and Wild In The Country (Glenn Tyler) were made the following year, (1961)

The three movies were a financial success, but a dramatic failure.

1961, November 14, the film Blue Hawaii was released, (Chad Gates)

It was a huge success: one of Elvis’s biggest money makers, records continued to sell, an album made from the songs in Blue Hawaii was the fastest-selling album of the year.

The film reached the five-million-dollar mark.

1962, January 18, Elvis signed a five-year multimillion-dollar contract with producer Hal Wallis, the movie Follow That Dream was filmed in Florida. (Toby Kwimper)

1962, July, Kid Galahad (Walter Gulick) the film was another one of Elvis’s movies that did not do as well at the box office.

1962, November 2, Girls! Girls! Girls! was released. (Ross Carpenter) produced by Hal Wallis, the film included the sound track “Return To Sender.”

1963, April, Elvis’s first movie for the year was, “It Happened at the World’s Fair” (Mike Edwards) it was filmed in Seattle.

Elvis’s next movie for the same year was Fun In Acapulco (Mike Windgren) the critics would dismiss his movie as lightweight fluff, never recognizing the depth he brought to each of his roles.

1964, March, Kissin’ Cousins, was released (Josh Morgan / Jodie Tatum)

A movie in which Elvis played two parts, giving his fan’s double value for money.

1964, April, the movie Viva Las Vegas (Lucky Jackson) was one of his best musicals and grossed nearly Six-Million Dollars

1964, November, Roustabout (Charlie Rogers) was put with other lightweight Elvis Presley movies.

1965, In this year Elvis released three movies Girl Happy (Rusty Wells), Tickle Me (Lonnie Beale), and Harum Scarum (Johnny Tyronne), most of his movies were musicals, and these three no exception.

1966, the movie Frankie and Johnny (Johnny) was released, and then Paradise Hawaiian Style (Rick Richards)

1966, Elvis’s next two movies: Spinout (Mick McCoy) and 1967, Easy Come, Easy Go (Ted Jackson), both are typical of his movies.

During Elvis’s years in Hollywood, the actor- Elvis Presley, films were never given the recognition they deserved.

1967, Double Trouble (Guy Lambert) and Clambake (Scott Heyward / ‘Tom Wilson’) were released.

1968, Stay Away, Joe (Joe Lightcloud) was released in March, the next two movies, Speedway (Steve Grayson) was released in June and Live a Little, Love a Little (Greg Nolan) was released in October.

1969, in March, Charro (Jess Wade) was released, and although Elvis continued to make more movies, he was ready to move in a new direction.

1969, Elvis went on to make two more movies, The Trouble with Girls (Walter Hale) released in May, and Change of Habit (Dr John Carpenter) came out in October, which would be Elvis Presley’s last movie.

1972, ELVIS ON TOUR, ended the age of Elvis Presley movies, and left Hollywood be hind him.

Elvis Presley’s movies grossed over $180 Million Dollars, more Millions were made when Colonel Tom Parker started the merchandising of Elvis’s products, and the Colonel controlled the rights.

It’s real, and it’s called The Party Of The Century, probably the most spectacular music record project ever happened. Two years of intense work all around the world, 30 of the world’s most influential and legendary musicians put together by the tireless enthusiasm of the young talent Giorgio Onorato Aquilani. Wanting to make something remarkable, Giorgio wrote down 10 original songs together with his lyric partner Ivan Nossa dreaming to involve the best musicians on earth.

Giorgio’s concept for his new album is the vision of a “big mansion” hosting an unforgettable music Party. Giorgio reached out to his musicians friends and heroes like: Bobby Kimball (TOTO), David Paich (TOTO), John Mahon (Elton John), Leland Sklar (Phil Collins, James Taylor, TOTO), Simon Phillips (TOTO), Steve Gadd, Ron Carter (Miles Davis), Peter Erskine, Cherisse Osei (Mika), Charlie Morgan (Elton John), Ted Jensen, Greg Phillinganes (Michael Jackson, Stevie Wonder, TOTO), to name a few, and got back an incredible number of “I’m in man!!!”. The Party crew so stepped up, adding their individual specialty to what has become an exceptional original music project.

All the tracks are written and performed by Giorgio except the only cover, which is an obscure song by Elton John called Friends. The album features two duets: Poem to life (duet with John Mahon) and At my door (duet with Bobby Kimball). Giorgio’s writing, on the Party Of The Century album, can be considered “multi-genre”, going from British and West Coast pop/rock to jazz and symphonic.

The lyrical content of the album touches many relevant themes such as: Love, Friendship, War and Aids. Giorgio co-produced the Party Of The Century project with Vittorio Iuè who arranged all the songs and played on most of them.

The Party Of The Century is going to be released worldwide on March 25th 2010 and it will be available on iTunes for digital downloads and on CDBABY.COM for physical distribution.

The physical release will contain the Party Of The Century Album, a DVD (featuring 22 studio session clips, a documentary, interviews and The Making Of), a 48 pages book and a collector gadget.

The official website http://potc.giorgiosound.com is updated every week with new blogs, videos, pictures and facts about the Party Of The Century and the facebook page has quickly reached thousands of fans in less than two weeks!

Links:

Official website: http://potc.giorgiosound.com
Official myspace: www.myspace.com/giorgiosound
Official twitter: www.twitter.com/giorgiosound
Official YouTube channel:www.youtube.com/thepartyofthecentury
Official facebook page: www.facebook.com/pages/Party-of-the-Century/193318083140?ref=mf

for more information, promo requests or to set up an interview, please contact:

Party Of The Century Project
C/O Lettera “A” records
S.S. Cassia KM 62,200 – 01019
Cura di Vetralla – Italy

email: contact ( @ ) giorgiosound dot com

Source:
http://www.1888pressrelease.com/giorgio-s-party-of-the-century-pr-181921.html

Washburn Guitars is a division of U.S. Music Corp., a world leader in the production and distribution of fretted instruments, amplification and sound reinforcement. The 125-year-old company began as a high-quality stringed instrument manufacturer in Chicago and has since acquired Oscar Schmidt (makers of the AutoHarp and student instruments), Sound Tech (sound reinforcement and pro audio gear), Randall Amplifiers and it’s most recent acquisition, Vinci Strings. U.S. Music Corp. is rated as one of the top 50 companies in the music industry worldwide and is currently located in Mundelein, Illinois.

Many great guitarists are playing washburn guitars. Pink Floyd co-founder Roger Waters has been playing the Washburn RR300 for two years and has been very amazed with the guitar over this time. When Washburn approached him about a Signature Limited Edition, he gladly agreed to work with Washburn on this special offering.

The RW300 brings together a Seymour Duncan P90 style pickup and a Fishman preamp with a piezo bridge. These pickups, in combination with the chambered mahogany body and solid spruce top, reduce the chance of feedback and give the RW300 a tremendously accurate and vibrant acoustic tone. Roger was the creator and sonic architect of such undeniable classics as Dark Side Of The Moon (which spent nearly 15 years on the Billboard 200 album chart), The Wall (which has been certified 23x RIAA platinum), Animals, Wish You Were Here, and Final Cut. Following Final Cut, Roger Waters left Pink Floyd.

His first full-length solo album, The Pros and Cons of Hitchhiking was released in April 1984 to great critical and popular success, generating his first solo tour. June 1987′s Radio K.A.O.S. continued the path of solo success, bringing Roger back to the stage. His last full-length solo album, the moody and ironic Amused To Death, considered by many to be a comparable achievement to Dark Side Of The Moon or The Wall, was released in August 1992.

Waters has been working on Ca Ira (pronounced sa-ira), an opera in English and French, a new rock album to be released in 2002 and Echoes the best of Pink Floyd, which was re-mastered by long time Pink Floyd producer James Guthrie.

In 1992, at the height of his career, Prince had the guts to disconnect himself from his major record label and decided to continue on his own. With no major backing, no supportive hit singles and completely out of the industry machinery, Prince still managed to be the highest earner in 2004, sold out 21 nights in the London O2 arena in 2007 within seconds and just recently had a No.2 Album entry in the US Billboard charts.
How come?

1. Prince Works

Despite his continues stream of songwriting, producing and releasing his own records, Prince constantly re-invents himself as time demands. He always plays live, experiments with his catalogue including new band set-ups, involves musicians and simply lives and breathes his music. By doing this, he has become one of the most fascinating musicians and live performer with a soverenity second to none. His work is not set, scheduled or in any other way determined by the usual release policies and routines dictated by the Record Company but simply out of his own desire to keep his music alive and exciting without any hang ups.

2. Being The Industry – Being A Marketing Genius

Bands/Musicians these days have two choices. One is the devil called Record Company, the other one is the saint called Internet. It is the devil they hate and the saint they don’t understand. As a result, bands tend to sleep with different devils hoping the new one might be the lesser evil and, at the same time, praying that  “doing a bit on the Internet” will, maybe one day, bring some ease to their continuous struggle. So what did Prince do already 15 years ago? He dumped the devil and became his own industry. Secondly, he embraced the then still very underdeveloped medium called the Internet. This was not done overnight, required incredible self-discipline and willingness to create his own, fully functional set-up, all on top of his 24/7 workload.

Prince’s music was then primarily released through his Internet subscription service NPGOnline. Sales suffered and he “disappeared” but he never lost his presence. In addition, his independence turned him into a marketing genius always thinking outside the box, always surprising the punters with his extravagant shows and musical explorations such as his appearance at the great Monteux Jazz Festival or his legendary exclusive Las Vegas appearances. His free give-away of the Planet Earth Album via a UK Newspaper caused controversy but was the perfect promotion for his 21 Nights UK Tour. His persistent and successful crack down unauthorised usage of images, music and videos on the Internet is another way of “keeping up your price”. His new Album was a direct deal with US Retailers including Target. It worked. Previous Albums were based on marketing-distribution deals with major distributors, always keeping the full rights to his work.

3. The Art of Giving – Prince Live

Prince’s legendary Live performances and excessive aftershows made him the most bootlegged musician of all times. However, seeing him on stage makes one realise how different his live performances are from the rest of today’s top acts.
Prince does not perform because the industry routine demands it. Prince performs because he loves to share with the audience his gift of being an outstanding musician and performer with a repertoire to die for. Prince masters every trick in the book of playing live, he loves to deliver an explosive musical experience without compromise (no pyrotechnics needed).  A man who plays for two hours in front of a stadium audience and then returns 2 hours later in a club playing a 3 hour show in front of 200 people with an always changing set clearly loves what he does. Having reached the age of 50 now, nothing has changed. In fact, it seemed that he is better than ever.

Although his recent devotion towards the Jehovah Witness believe system has raised some eyebrows, he certainly lives according to one rule: “God helps those who help themselves”

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