LADY GAGA PORN SHOW / FRIDAY FUN

Korean Christians aim to stop Lady Gaga's "pornographic" show   "HOW DO YOU BRAND YOURSELF"

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SEOUL (Reuters) - Christian groups in South Korea called on Friday for pop icon Lady Gaga to cancel her concert here saying it was "pornographic" and promoted homosexuality.

South Korea's government has already bowed to public pressure and banned under-18s from attending the 26-year old's concert, but protesters gathered outside the venue said that was not enough.

"Some people can accept this as another culture but its impact is huge beyond art and debases religions. Even adults can't see her performance which is too homosexual and pornographic," said Yoon Jung-hoon, a reverend who organized the "Civilians Network against the Lady Gaga Concert".

The singer's hit song "Born This Way" celebrates the empowerment of gay men and women, something that many in South Korea, which is the second most Christian country in Asia after the Philippines, say is an immoral lifestyle.

Lady Gaga, whose real name is Stefani Joanne Angelina Germanotta, has been in Seoul for close on a week as she kicks off her Asian "Born this Way" tour.

"Nervous for tonight. Hope I make little monsters happy and proud," she Tweeted a few hours before the concert kicked off.

Yoon's group claims to have collected 5,000 supporters on Facebook against the concert and some have also called for a boycott of the sponsor Hyundai Card. The protesters have also threatened a boycott of its parent company, Hyundai Motor Co, South Korea's largest car-maker.

"The Christian Council of Korea with 12 million Christians and 55,000 churches will take all kinds of measures such as boycotting Hyundai Card to root out this kind of obscene culture," the council said in a statement.

Yoon said he would attend the concert to "monitor" the performance for homosexual content that could corrupt young people.

Remember you have to live with your brand.

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FAQ ABOUT MUSIC PIRACY

FAQ:  MUSIC PIRACY

Thanks for being interested in the music industry and our positions on various issues. We get many requests.. We’re happy to help and share our perspective. Unfortunately, we can’t always answer every question. Below is a list of commonly asked questions and hopefully insightful answers. Please take a look. We hope you find it useful and informative. Good luck!

Q. What is AMP'S STANCE ON MUSIC PIRACY

It’s commonly known as “piracy,” but that’s too benign of a term to adequately describe the toll that music theft takes on the enormous cast of industry players working behind the scenes to bring music to your ears.  That cast includes songwriters, recording artists, audio engineers, computer technicians, talent scouts and marketing specialists, producers, publishers and countless others.

While downloading one song may not feel that serious of a crime, the accumulative impact of millions of songs downloaded illegally – and without any compensation to all the people who helped to create that song and bring it to fans – is devastating.

The law is quite clear here, and fortunately legal downloading is easy and doesn’t cost much. Music companies have licensed hundreds of digital partners offering download and subscription services, music video streaming, cable and satellite radio services, Internet radio webcasting, social networking music services, video-on-demand, podcasts, CD kiosks and digital jukeboxes, mobile products such as ringbacks, ringtones, wallpapers, audio and video downloads and more.  In fact, according to the global music trade body IFPI, there are now more than 13 million licensed tracks available on more than 400 different services worldwide.  That’s great news for music fans and the industry alike.

Q: What is the scope of the problem?

Music theft is a real, ongoing and evolving challenge.  Both the volume of music acquired illegally and the resulting drop in revenues are staggering.  Digital sales, while on the rise, are not making up the difference.

Consider these staggering statistics:

    -In the decade since peer-to-peer (p2p) file-sharing site Napster emerged in 1999, music sales in the U.S. have dropped 47 percent, from $14.6 billion to $7.7 billion.
    -From 2004 through 2009 alone, approximately 30 billion songs were illegally downloaded on file-sharing networks.
    -NPD reports that only 37 percent of music acquired by U.S. consumers in 2009 was paid for.
    -Frontier Economics recently estimated that U.S. Internet users annually consume between $7 and $20 billion worth of digitally pirated recorded music.
    -According to the Information Technology & Innovation Foundation, the digital theft of music, movies and copyrighted content takes up huge amounts of Internet bandwidth –  24 percent globally, and 17.5 percent in the U.S.
    -Digital storage locker downloads constitute 7 percent of all Internet traffic, while 91 percent of the links found on them were for copyrighted material, and 10 percent of those links were to music specifically, according to a 2011 Envisional study.

While the music business has increased its digital revenues by 1,000 percent from 2004 to 2010, digital music theft has been a major factor behind the overall global market decline of around 31 percent in the same period.  And although use of peer-to-peer sites has flattened during recent years, other forms of digital theft are emerging, most notably digital storage lockers used to distribute copyrighted music. 

Q:  How much money does the music  industry lose from piracy? 
There are two categories to consider here: losses from street piracy – the manufacture and sale of counterfeit CDs – and losses from online piracy.

One credible analysis by the Institute for Policy Innovation concludes that global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. For copies of the report, please visit www.ipi.org.

As you can imagine, calculating loses for online piracy is a difficult task. We do know that the pirate marketplace currently far dwarfs the legal marketplace, and when that happens, that means investment in new music is compromised.

All the same, it’s important to note that across the board, piracy is a very real threat to the livelihoods of not only artists and music label employees but also thousands of less celebrated people in the music industry – from sound engineers and technicians to warehouse workers and record store clerks. Piracy undermines the future of music by depriving the industry of the resources it needs to find and develop new talent and drains millions of dollars in tax revenue from local communities and their residents.

Q:  What would WE LIKE TO SEE HAPPEN?
The program was designed to educate fans about the law, the consequences of breaking the law, and raise awareness about all the great legal sites in the music marketplace.  Like any tough decision, there are trade offs.  On balance, the legal marketplace is far better off because of the program.

Prior to the lawsuits, only 35 percent of people knew file-sharing was illegal, but after the initiation of the end-user legal campaign, that number quickly rocketed to more than 70 percent.  In 2003 and 2004, we saw double digit growth in the numbers of people using peer-to-peer to download music illegally.  If awareness of the copyright laws and an appreciation of the consequences of getting caught for breaking the law had not had an effect, p2p growth rates would likely have continued unabated, and would have seriously undermined the potential for a legal digital marketplace.  Instead, according to NPD, between 2006 and 2009, the percent of Internet users downloading music illegally declined from 19 to 14 percent, while the percentage engaging in legal music downloading grew from 16 to 20 percent.  Where there was virtually no legal digital market in 2003, today the legal digital market exceeds $3 billion annually and boasts more than 400 licensed music services worldwide.

The music business’ efforts to innovate and license new models, educate fans about the law and enforce rights where necessary have made a profound difference in shaping today’s music landscape.  Illegal file-sharing rates have now stabilized: the share of users who download legally has surpassed the share of users who download illegally.  The “lines” have crossed and that’s an important marker in the development of a legal marketplace.  Because that’s what this is ultimately all about – helping provide the framework for a dynamic, exciting, content-rich marketplace that is rewarding for both fans as well as  the music community.  The good news?  That marketplace is here. 

 Q:  Don’t you think some people are always going to download music illegally, even with a graduated response program in place?
We're realistic. As an industry, we have lived with street piracy for years. Similarly, there will always be a degree of piracy on the Internet. It's not realistic to wipe it out entirely but instead to bring it to a level of manageable control so a legitimate marketplace can really flourish.

.We also work hard to educate consumers about the law and about the many legal ways to get music online. Because we know the best way to deter piracy is to offer fans compelling legal alternatives, record companies are aggressively licensing their music to a great many services – from download and subscription models to Internet radio to legitimate P2P and more. Giving these legal online services a chance to flourish is a driving factor in almost everything we do.

 Q: How is downloading music different from copying a personal CD? 
Music companies have never objected to someone making a copy of a CD for their own personal use. We want fans to enjoy the music they bought legally. But both copying CDs to give to friends and downloading music illegally rob the people who created that music of compensation for their work. When music labels are deprived of critical revenue, they are forced to lay off employees, drop artists from their rosters, and sign fewer bands. That’s bad news for the industry, but ultimately bad news for fans as well. We all benefit from a vibrant music industry committed to nurturing the next generation of talent. 

Q: If people start paying to download and are charged per song, who decides how much a song costs and where that money goes? 
Each legitimate music service has its own licensing agreements with the individual record companies. These agreements are likely to set many of those terms.  Luckily for fans, music companies have licensed hundreds of digital partners that offer a range of models, many of which are free and all of which are discounted. 

Q: Should devices such as CD burners be outlawed since they are an easy way of making illegal copies of others creative efforts?
Devices and technology are not the problem. It’s when people use technology to break the law that we take issue.  Again and again, we have embraced the technological advances that have allowed millions upon millions of people around the world to enjoy the music we create. We want fans to enjoy their iPods, CD burners, and other devices, but we want them to do so responsibly, respectfully, and within the law.

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Song title let's get it started

FIRST THINGS FIRST

As a staff writer for years in Nashville I learned some really cool lessons from the best in the world. One thing was writing to the hook. If you would like to know how to do that hit me back, and we can make that happen. More times than not the hook and the title are the same. So today we will be speaking to the title. Got to start somewhere right.

Before you can think about writing lyrics to a song you first need to know what you are writing about. One of  the best ways to do this is to come up with a song title. You want a title that is unique and can sum up the meaning of the song in a few simple words.

Coming up with the perfect title isn't always easy and can sometimes be harder than coming up with the lyrics. There are a few techniques that you can use. One of the most common ways of doing this is to grab a pre-existing title and switch the words around to make them sound unique. Although I'm not a big fan of this method, it does work. Remember this, a good mechanic  has a lot of tools in his box and while he may not use them all , all of the time, their will come a time when they will come in handy.

Another way to find a great song title is to look at magazines and newspapers. Peruse them for eye-catching words and phrases, then write them down in a notebook. I call this my hook book. Then play around with them, rearranging words and letters.

You can also get inspiration from the words of other people, so pay attention to what others are saying around you. My best titles have come from listening intently to what others are saying. Not a bad practice even if you're not a writer. Maybe someday while you are eating your lunch, you will hear two people talking about something interesting and a title will immediately come into your head. That will happen more often than you think if you just pay attention.

Don't be discouraged if it takes you some time to write the perfect title. Everything, including a song title,  takes time to perfect.

WRITE WRITE WRITE PRACTICE PRACTICE PRACTICE !

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SONG WRITING TIPS / RHYMES

TO RHYME OR NOT TO RHYME

While understanding rhyming schemes is important, that's just a small part of using the rhyme with integrity in a song. You can buy a hundred books on rhymes and learn all there is to know about rhymes, however that does not make you a songwriter. Learning to use rhymes in songs properly is learned through writing songs. Most commonly write many songs before they get it. Your song should not sound like a nursery rhyme; neither should it be rhyme-less.

As a new writer it is difficult at best to know if you've hit the mark or not. Even seasoned professionals miss the mark with their rhyme schemes. One of the quickest ways to turn off a publisher, and never get your songs heard by them again is to have a childlike rhyming song, or a screwed up rhyme scheme. I know from years of experience listening to hundreds of songs as a publisher. File thirteen became a popular hangout for these fellows. Don't make that mistake. You may not get another chance.

So what do I do? Find a pro to critique your songs before you send them to anyone. If you do not know one, join a professional association like AMP, and let experienced professionals guide you in the right direction. It may cost you a small amount in the beginning but could bring huge rewards in the end.

Rhyme will help to make the lyrics of your song easy to remember and to keep your listeners paying attention to your song.

When a listener recognizes a rhyming pattern in a song, they develop a sense of anticipation - they want to hear the rhyme completed, and they feel a sense of satisfaction once they hear the complete rhyme.

Although rhyme can make a song more pleasurable to listen to, you should never allow rhyme to take priority over the ideas and emotions that you mean to convey through your song. Your song's lyrics - regardless whether or not they rhyme - should reflect the character of the singer, the circumstances of the plot and the emotional tone of the song.

Never force a rhyme if it will detract from the overall message of the song.

You can use a rhyming dictionary to get ideas for rhymes. However, when you write your song, make sure that the rhymes that you use are original. Avoid overdone, cliché rhymes, like stars and mars.

Types of Rhymes

Here are some types of rhymes that you can use to make your song catchy and more memorable.

Perfect Rhyme

In a perfect rhyme, also known as a true rhyme, the stressed vowel and the consonants or syllables that follow them sound exactly the same in both words.

Examples of perfect rhymes include:

hat, rat

night, fight

rider, cider

money, sunny

Masculine Rhyme

A masculine rhyme is a rhyme in which only the last syllable of both words rhyme.

heat, meat shout, without

and

anger, hunger

are examples of masculine rhymes.

Feminine Rhyme

A feminine rhyme consists of two two-syllable words in which both syllables rhyme. The stress in these words falls on the second to last syllable.

Lover, discover

is an example of a feminine rhyme.

Triple Rhyme

In a triple rhyme, the last three syllables of both words rhyme.

Vanity, sanity

and

embraceable, replaceable

are triple rhymes.

Slant Rhyme

A slant rhyme consists of two words that give the impression of a rhyme, but do not rhyme exactly.

Slant rhymes are also known as imperfect rhymes, near rhymes, false rhymes or off rhymes.

A slant rhyme can consist of two words that share the same vowel -such as hand and stance - or two words with the same final consonant - such as dirt and heart.

Rhyme Placement

Rhyming words are usually placed at the ends of lines in songs.

Some commonly used rhyme schemes for a four-line section of song are:

ABAB - The words at the end of the line one and line three rhyme with each other, while the second and fourth lines end with words that rhyme with each other.

ABCB - Lines two and four end with words that rhyme with each other.

AABB - The first and second lines end with words that rhyme with each other, and the words at the end of line three and line four rhyme with each other.

AABA - Lines one, two and four end with words that rhyme with each other, while line three does not.

AAAA - All four lines end with words that rhyme with one another.

A rhyme can appear in the middle of a line. It is then known as an internal rhyme.

Internal rhymes are common in rap music

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A MUST KNOW FOR ALL SONG WRITERS

DOES A SONG NEED A HOOK

If you have plans to pursue a career as a song writer you must understand the importance and theory of a hook. Below, I will explain the basics on how the chorus of a song are tied together.  While this is not exhaustive it will surely get you off to a good start.

It is vitally important if you plan on being a professional writer for you to understand how to write to the hook. If you think you will be inspired each time you sit down to write a song; I will sell you the Holy Grail real cheap. Stay tuned in an upcoming blog I will share one of the secrets of the pros that will send you on your way. Good writing!!!!!!!

The chorus and the hook are the most important elements in a good song. They are the heart of the song and form the basis for the rest of the song. They are what the listener will remember after hearing your song.

The hook provides the main idea that the songwriter wants to convey to the listener, while the chorus summarizes the song.  Once you have written the hook and the chorus, you will be able to write verses that build on the ideas and emotions that you wish to convey.

Chorus

The chorus reinforces the main point and the general mood of the song by means of repetition and high energy level. The chorus has the highest energy level of all the parts of the song - it is the loudest, highest-pitched and most emotional part of the song.

Be careful that your chorus is not too vague or too drawn out.

Although the song's title does not have to be included in the chorus, including the title in the chorus can help you to write the chorus. The title can be the basis for the lyrics of the chorus.

Hook

The hook is the phrase in a song that tells the listener what the song is all about.

It is the most memorable part of the song - the part that gets "stuck in your head" and that people will find themselves singing or humming.

If you are listening to a song for the first time, it won't take you very long to recognize the hook.

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