AMP AND THE RAGAMUFFIN CO-ALIGNMENT

                    

AMP is proud to announce our Co -- alignment with the Ragamuffin music Hall.  We will be Co- hosting a first Sunday inspirational open mike night as well as educational, and invitational events to be announced. Here is a blog From Ashley Harris, one of the owners. Thanks ASH!!!!!

Grady Shuman

AMP is proud to announce we are Co - aligning with the Ragamuffin music hall for a first Sunday of the month inspirational songwriters open mike night from 7 pm to 10 pm beginning the first Sunday in April.  Get there early to get a spot on the show!  
Ragamuffin Music
585 Atlanta Street, Roswell, GA 30075

Miracles Do Happen !

So, if you think miracles don’t happen, THINK AGAIN! I can speak from a place of authority, because I know firsthand that miracles DO HAPPEN!  This miracle I’m speaking of is not of a supernatural nature, nor is it a result of my extreme goodness, but rather a direct and poignant expression of the truth that GOD IS GOOD!

You see, in order for a miracle to be recognized, you have to first reach rock bottom; whatever that is for you, and let me just say, I was there.  It was April of 2011 and I had just signed divorce papers with my husband of 18 years.  I had no recent work experience, was a mother of three and had no idea how I was going to provide.  Sure, I’d cut 4 records and had taught music lessons from my home for 15 years, but that just wasn’t going to be enough to bring home the bacon.  I started preparing my resume and was looking at working a 9-5 job in some kind of administrative position, which for me felt like the kiss of death.  But, I was desperate and willing to take a job as a front desk receptionist, the same job I had last when I was only 20, if I had to.  Then the miracle showed up.  I received an email from the previous owner of Ragamuffin Music Hall informing me that she wanted to sell the business and felt that God had told her I was the person she should offer it to.  I was ASTOUNDED.  A business up and running for 5 years was dropped in my lap!  One month after signing divorce papers I was a business owner.  Now, how could that be anything but a miracle?  You see, it’s always darkest just before the dawn.  It’s a cliché I know, but it’s true!

On Mother’s Day weekend, May 14, 2011 Ragamuffin Music Hall held its Grand Re-Opening.  It was truly one of the most exciting and fulfilling days of my life.  I was in awe of God’s goodness, humbled at the manifestation of his deep love and concern for me and my well- being along with my children, honored that God would place such an opportunity in my hands.  Tears of gratitude were all I could offer in thanks, stunned at the goodness of God’s love.

Now, let’s back up a year and a half prior to the day I signed divorce papers.  I was busily working away in Nashville on my 4th project and very excited to release my first Country CD.  I had a management team, co-writers, and studio time scheduled with A-list players in Nashville... players who have recorded on projects for artists like Martina McBride, Faith Hill and Amy Grant.  I was on top of the world in my career, but inside I was dying.  I knew my marriage was over.  I was going through the motions holding on for dear life, not knowing how it all was going to play out.  I moved forward the best I could with the release of my album knowing the hard work that went into it; two years of songwriting and pre-production, gigs, website development, shopping producers, networking.  I could see the tornado ahead and didn’t know how to avoid it.  Still, we made arrangements to release my first single and my husband and I went back to marriage counseling, even though we had already had 10 plus years of therapy.  Needless to say we were both in a great deal of pain with no end in sight.  But we had become very good at hiding that pain when we needed to: at church, for the kids and at family reunions and social events.  After all, we had made a promise to God and believed that our personal happiness was not to take precedence over that.

Doors continued to open for my music.  I released an international single and it was doing well. An Atlanta based Clear Channel Country Radio station 94.9 The Bull had been playing my songs on their local show and had chosen me to headline their Christmas benefit concert in Dec of 2009.  A music video was shot free of charge for me from a Nikon rep.  I was meeting with radio promoters looking to start a national radio tour and then the inevitable happened.  The marriage began crumbling at an exponential rate. I believe it is best to take the high road and let God fight your battles.  My ex-husband and I were not to be.  We struggled and struggled in total agony for years cycling in and out of fighting and trying to forgive.  Thoughts of suicide were closing in.  After tremendous soul searching I knew that even God, whom I had made a promise to would not want any of his children to suffer the way we were.  Each day was a literal walk through hell from Nov 2009 up until April 2010 when I finally filed for divorce.  I felt as though my entire life was going down in flames personally, spiritually and professionally.  Being the one to file was a particularly difficult burden.  I felt as though friends and family church members blamed me for “giving up”.  And it got worse, much, much worse.  But God was in the middle of it with me, through it all, every step, good or bad.  Right or wrong.  God was in the middle of my pain.  He never left my side, even when I thought He had.  I know that now.

Remember, that we can’t recognize a miracle until things get so bad, so broken, so burned out that we see no other solution than to throw up our hands in surrender and throw ourselves at the mercy of God.  The lines of a popular Christian song by Chris Tomlin comes to mind: “We raise a white flag; we surrender all to You, all for You”.  That’s when the miracles come.  Yes, that was plural… MIRACLES.  When we surrender and trust God, miracles come, because God is Good.  God not only had plans to help me re-build my professional life, he also had plans to bless my personal and spiritual life by sending me true love.  In September of 2011 I married Greg Gronholm.  We met at Ragamuffin Music Hall.

So, needless to say I’ve been a little busy over the past two years, recovering from a divorce, learning a new business and getting re-married.  Life is full of new challenges and beautiful moments.  The term “blended families” has taken on new meaning for me and turning a profit with a new business was harder than I thought it would be.  I had expected to walk into a thriving business but instead found it needed to be re-built from the ground up.  Over the past year I have focused my energy my family and running Ragamuffin while still performing as much as I could with my new husband Greg.  It’s been an exciting and challenging year.  I am happy to report that in Feb of 2012 Ragamuffin Music Hall finally turned a profit!  Hallelujah!  Additionally, all my three children adore their new step father and I feel loved on a level I didn’t believe was possible.  God is Good!

I love the scripture, “Trust God. Doubt Not. Fear Not.”  Easier said then done, but do it anyway!  You won’t be disappointed!  One step at a time; that is how we re-build our lives.  You may feel like you’re climbing up a coliseum but keep going!  Don’t stop!  You want to reach the top where you can breathe in the fresh air and see the beautiful skyline.  If I’ve learned one thing in life, it’s that nothing comes easily.  No one is an overnight success.  No one gets the gold without paying a price.  So, what’s next?  I know the music will come in its due time.  I know that I am where I should be.  I know that I am doing exactly what is right for me in this moment.  One day at a time.  My goal is simply to focus each day on being grateful, trying my best to do God’s Will and to live in His favor.  I think I’ll let God take care of the rest.

Ashley Harris

SPECIAL ANNOUNCEMENT

SPECIAL ANNOUNCEMENT

We are very excited over the response we're getting to our blog. The comments and kudos have been great!  Our goal in writing this blog is to give you the information you need to equip your tool box to move forward in your career.  This is a very complicated industry.  We want to provide you with the most current and accurate information available.  However we need your help!

Please comment on these blogs so we will know if we're hitting the mark or not.  We also need your input.  If you have any questions concerning the music industry, please let us know.  We will do our best to get the answers you desire ASAP.


Send questions to: gshuman@myamp.org

Thanks and good sailing! J.Grady Shuman

president and founder of

AMP THE ASSOCIATION OF MUSIC PROFESSIONALS

DO I NEED A RECORD DEAL?

DO YOU NEED A RECORD DEAL

Do you need a record deal? With everyone talking about how much the music industry is "changing" these days, many musicians wonder if they really need to worry about demos and labels any more, or if all of that traditional music business stuff is just so passe. In fact, you've probably heard a lot of people tell you that you definitely DON'T need a label - that labels are only taking a cut of your earnings for something that you could be doing by yourself anyway. The truth really isn't quite that easy.

First - yes, you CAN release your record yourself. There are more avenues than ever before for indie music in general, and that means musicians have a better shot at success with a self release now. But make no mistake about it - there's nothing especially revolutionary in the model of self releasing your record. You're not "skipping" the record label - you're really starting a record label. If you're serious about selling your music and trying to make a living, then you are going to have to do nearly everything a record label would have done in the old days- both in terms of work and finances. It just does not cost as much.  The better question isn't whether you need a label - really, you don't - but whether or not you are ready, willing and able to do everything involved in running your own label.

I can't say this too many times. If you don't have the passion and drive to do the work, don't go there. If you can't take rejection, don't go there. If you're in a hurry, forget it! This is not a sprint, it's a marathon. But, if you have the talent, and perseverance , you have as good a chance as anyone.

One of my favorite quotes is; "The heights by great men were not attained by sudden flight -- but they, while their companions slept, toiled upward in the night."

Henry Wadsworth Longfellow

Did You Know? 2010 Was the Worst Decline EVER for the Concert Industry...

It's worse than you think. "2010... was the single largest year-over-year decline in the history of the live event business, straight up, in the 35 year history of Ticketmaster and I think anywhere else," said Ticketmaster CEO Nathan Hubbard in a weekend interview with Topspin head Ian Rogers.  "You have to take a step back and say, 'why? what is the fan telling us that isn't right about the business?'"        

Is this simply becoming a broken model?  Indeed, a look at Live Nation's financials shows the dramatic plunge, with 2008 also offering a catastrophic free-fall (left axis in millions). 

In the interview, Hubbard pointed to a number of sticky problems.  "We've got a fan experience problem, first and foremost. There are things about buying the ticket that suck.  There are things about going to the show that suck."   

But pricing may be the bigger - and primary - culprit.  "The compound annual growth rate for ticket prices has been 5-8 percent, since the beginning of time - so it's just continued to inch up, and the decline in recorded music sales accelerated that for sure," Hubbard continued.  "Price is still an issue for fans."

 What a great time for the entrepreneur! If the concert industry follows suit with the record industry, they will change only as a last result. The cool thing is, the public is waking up, and getting tired of being railroaded. As more and more people get tired of the insanely high prices, and stop attending concerts, new doors will open for the concert goers.

The entrepreneur , will see the value, and new and smaller venues that are more user friendly will open up and draw the unhappy concert goers. Don't think for a minute this is not going to happen. It already is! The smaller venue owners are going to have to change their way of thinking, and begin catering to the new breed of concert goers.If will happen sooner if we all band together and stop supporting the gougers.

Please comment and join us on FB, and twitter. Also join me at Grady Shuman on FB. Thanks, J.Grady

How much is the music industry really worth

How Much Is the Music Industry Really Worth? Try $168 Billion...

The recording industry has been fractionalized over the past decade. The touring sector suffered its worst decline ever last year. And music publishers are struggling to keep things flat.

So how is the broader music industry somehow worth $168 billion? The answer comes from a broader list of music-related sectors, including those tied to consumer electronics, radio advertising, and musical instruments.          

Take a look at this 2010 estimate from global trade group IFPI, which pegs the figure at $167.7 billion, with radio advertising squarely in the lead (larger graph here).  Recognize this business?  

 167.7 Billion? Really? When all of this is sorted out in facts, it's really not that hot for the record industry or radio. Globally , the record industry is down from 16 billion in 2009 to 6.4 billion in 2011. Radio is scrambling to hold onto its market share and is losing ground fast. Yes, the digital age is here and it's swallowing up all its competition.

Please comment on our post and like us on FB. Thanks, J.Grady!

Question of the week: Street Team

What is a street team?

A street team is a term used in marketing to describe a group of people who 'hit the streets' promoting an event or a product.  'Street Teams' are promotional tools that have been adopted industry wide as a standard line item in marketing budgets by entertainment companies, record labels, the tech industry, corporate brand marketers, new media companies and direct marketers worldwide.

[edit]History

The now ubiquitous "street team" model was originally developed by urban record labels such as Loud Records, Jive, Bad Boy, Roc-A-Fella and Priority Records.  Rap labels found an affordable and highly effective bridge to their target audience that did not require the traditional outlets found in print, radio, television mediums and elusive large scale record distribution deals.

It was a modern version of a credible "cool" field marketer working for you with the ability to create hype for your artist (brand) through credible peer-to-peer interactions and viral word-of-mouth influence marketing.

This grassroots tactic was partly born in the mid-1990s from the larger monopolistic record distributors trying to shut out rap and smaller music labels of the day from radio and mass distribution due to the early stigma of "gangsta rap" and "punk" on those genres as a whole.

Street Teams were used by smaller independent record labels as a tool to circumvent the larger out-of-reach distributors and corporate owned record labels. Other independent label owners used street teams as a way to build equity in their stable of artists for the benefit of gaining a courtship by a larger music label or record distributor to merge or sell part or all the company. (see Loud Records sale late 1990s)

For the smaller labels trying to get in the door of the music business, the thinking was in part to build a loyal fan base in key markets first, get strong street hype and "street-cred" first, try to get on the local radio stations through hype/word-of-mouth, then go to the larger record distributors with a much stronger negotiating hand and a solid "sellable" commodity.

Through this method of building a solid fan base with disposable income first, the smaller label wielded greater power in their initial distribution negotiations for the benefit of their music artists and their profit margins. Distribution deals for an "unproven" new artist that came with a built-in fan base, generally received better upfront money deals than music artists had previously received without street teams sharing the music and spreading the word (viral marketing) nationwide.

[edit]Street Teamers

The position of street team representative was often filled by fans of an artist or young people looking for an introductory position in the music industry.  In many cases, an influential teen referred to as a neighborhood "tastemaker" was sought out or pinpointed by a record label to be used as a conduit to their respective neighborhood, due to their stronger influence over other teens that looked to them for "what's hot" or "what's the next hot thing".  The tastemaker was directed to create a team on the streets to make an unsigned music artist more popular through word-of-mouth and hype.

The concept for organized promotion teams in the music business can also be traced back to January 1975, when Starkey and Evans, two teenage KISS fans from Terre Haute, Indiana created the KISS ARMY as a group of fans determined to promote the KISS name.  Although this could be more attributed to fan clubs, fans worked together outside of their homes, to promote KISS to other kids at school or while hanging out.  This KISS army was quickly taken over by the band KISS itself and army recruits were offered limited edition merchandise and seating.

Usually unpaid, street teams for bands and artists are still often composed of teenagers who are rewarded with free band merchandise or show access in exchange for a variety of actions:

• placing stickers and posters in their communities
• bringing friends to the shows
• convincing friends to buy band merchandise
• phoning your local radio station to request their songs be played
• bringing vinyl and CDs to local DJs in the clubs where they work
• posting to band forums and bulletin boards online
• maintaining zines or websites dedicated to the band

In some cases, points are assigned to an individual for a particular action, and those points can be exchanged for tickets to shows, or for band merchandise. Some bands even produce special items just for street team members.

Please make comments and ask questions we will get back to you ASAP!




Source --- Wikipedia

x factor idol

An Update on Fox’s Hit Talent Shows

The top 13 took on big songs this week by having the men cover songs by Stevie Wonder and the girls songs by Whitney Houston. As I hoped in my last blog entry, the three standouts were Jessica Sanchez, Joshua Ledet, and Hollie Cavanagh.  Hallelujah!  Also, Billboard.com is officially reporting that Britney Spears is going to be the new judge on The X-Factor!  There is no end in sight for these reality/talent shows!
Let’s look at what happened on Idol this week.  My three favorites from this season shined brightly as expected.  Let’s first look at the girl who stole the night, Jessica Sanchez.  Fun fact about this girl- she is only 16 years old!  WHAT?!  Check out her version of Whitney Houston’s greatest hit, “I Will Always Love You”
http://www.youtube.com/watch?feature=player_embedded&v=ayYNAEs0few#!
She has a maturity about her when she sings that really makes this performance believable despite her youth.  People are blogging, tweeting, and facebooking about this girl and the general consensus seems to be putting her as the favorite to take it all this season.  We all know how I feel about this :)
Joshua Ledet didn’t fail to impress with his energetic performance of “I Wish” by Stevie Wonder
http://www.youtube.com/watch?feature=player_embedded&v=Trayt-40ytA#!
For me, Joshua performs and sings like a truly seasoned professional.  Randy Jackson pointed out one of my favorite qualities about him: “You can do up-tempos [and] you can do ballads.”  Versatility goes a long way on American Idol as we learned last year when the incredible Pia Toscano was voted off shockingly early.  Many think she pulled out an up-tempo too late and Americans had already made up their minds that she was stuck-in-a-ballad-rut.  This definitely isn’t the case for Joshua Ledet.  
The sweet and unassuming Hollie Cavangh once again displayed her vocal power with Whitney Houston’s “All the Man I Need”
http://www.youtube.com/watch?v=UO6SVwCLYRg&feature=player_embedded#!
Its hard to believe such a big voice can be coming from such a soft spoken girl.  I think America is going to find her sweet disposition very charming.  She will go far.
Sadly Jeremy Rosado was voted off this week.  Someone has go, and the judges felt like he was simply missing “swag” as Randy Jackson described it.  Fortunately for Jeremy he has an incredible talent and certainly a bright future ahead.
In other FOX-talent-show news- The X-Factor is taking on Britney Spears as one of their new judges for next season!  I have to say, this is a very interesting choice.  After all, she is notorious for popularizing a stereotype that pop-singers can’t really sing.  She has been the Queen of Lip Syncing for many years not only on television, but reportedly at her own concerts!  However, many would argue that vocals are a very small percentage of her brand.  She is a dancer, an entertainer, and an icon- does she really have to be a great singer?  Apparently not in order to judge the performances of others.  I’m rooting for her, but I think it will be hard to hear her critique someone for singing flat or out of their range when we all know what she is capable of live.  I suppose we can cross that bridge when we get there :)
-J. Burton

How do I get a booking agent?

Reality is real   

  When rain falls from the sky, and you're standing under the cloud, you're going to get wet...  If you eat too much you're going to get full.  If you don't pay your rent, you're going to get evicted.  If you're looking for a booking agent and you haven't done your due diligence, it's not going to happen.  Every Artist, new and old, is looking for a booking agent, if they don't already have one.  This is probably the most difficult part of the music business to grasp if you are new, and hardest thing to swallow, if you're new or an old timer.  So let's talk a little about why it is this way.

FROM THE AGENT'S POINT OF VIEW

   Most agents are thinking, simply: how can I make money off the Artist if no one knows who they are.  The answer more times than not is, I can't.  The vendor is thinking, how can I fill my venue with someone new if no one knows this Artist!  The answer more times than not is, I can't!  Thus goes the quagmire.  The Artist is thinking, how can I get anywhere if no one will give me a chance?  Thus the dilemma!

 

MY RIGHTS

  Right of entitlement - I'm owed something because of who I am, or what I do.  There is no right of entitlement in the music industry, only hard work followed by more hard work, followed by hard work!  When do I get the dessert?  Your passion, and love for your craft is your dessert.  If it's the fame and the fortune, and the money, you will starve for the rest of your life.  You will always hunger for more, and never be satisfied.  How do I know? Been there done that, and got the T- SHIRT!!

DUE DILIGENCE

  OK, I get it!  You want everyone to hear your music, and love it.  So do I, and you should!  I'm going to give you a list of things to do, and once you've done this, you might be ready to get a booking agent.

1, Learn your craft

2. Record a project

3. Play every venue you can

4. Build a fan base

5. Get a web site

6. Write a news letter

7. Write a blog

8. Use every form of media known to mankind

9. Network 'til you drop

10. Pray a lot

11. Help someone else

12. Build a team

   This is not an exhaustive list, however it's enough to get you started and increase your chances of being successful and getting that elusive booking agent.  If you're not willing to do all of the above, GOOD LUCK, YOU'LL NEED IT.  I believe this, the harder you work, the luckier you get!  

WHAT IS LP, EP ?

LP vs. EP

In the music world, there are some technical terms and abbreviations that need to be known.  Two such abbreviations or terms, aside from albums and singles, are LP and EP.  LP is the abbreviation for a long playing record (long play / long player), while EP is the abbreviation for extended play.

An EP, derived from the name extended, contains only a small number of songs.  There may be three, or at most five, singles. Conversely, the LP is synonymous to a full album.  These descriptions were the ones practically used for vinyl records.  Up until the 1980′s, vinyl records were said to be the primary medium used to promote an artist’s new set of music tracks.  These were directly sent to radio stations, and also to music clubs.

In this aspect, purely recorded EPs were used for the purpose of giving only a handful of people the overview of an artist’s new line of songs.  This also served as publicity, or a part of an entire promotional tour (campaign) for the artist.  The success of using these EPs was evident, as major record labels began manufacturing colored vinyl records for the public’s general consumption and sale.

Today, with the advent of CD and DVD technology, some bonus tracks have been added to what had been originally identified as music singles.  A vinyl record that initially contained 1 or 2 songs (a single), has now become EPs with the addition of more songs (extras, demos and probably remixes) with the aid of more storage space in the said disks.  For commercial purposes though, the music label companies insist on using the term ‘music singles with added bonus tracks’ to make the record more attractive to the buying public.  According to some sources however, these EPs have also been regarded as a form of mini album.

Similarly, because vinyl records have now been replaced with the newer disks as the main medium of music distribution, the term LP is slowly being erased with the common use of the term ‘album’ (pertaining to the one sided disks).  Although there may be as many tracks contained in LPs as in the full albums, LPs, back then, usually pertained to the two sided vinyl records wherein one side represented one half of the album, and the other side finished the remaining half.  These records were about a foot in diameter, and are 33 rpm.  These were said to be the domineering medium of distribution from 1948 to the latter part of the 1980′s.

1. With regards to vinyl record formats, LP stands for long playing record (like a full album), while EP stands for extended play (like music singles with added bonus tracks).

2. LP basically has more music tracks compared to EP.

EP, versus, LP really?

Banging it out

EP versus LP - this is a question that is creating a lot of chatter throughout the scrambling music industry. Old school - versus - new school. Old school says, an EP won't create enough buzz. They say radio won't pay as much attention to an EP, as an LP. An EP is good only for promotional purposes... Retail won't stock EP’s. It costs just as much to print EP’s. This is only a small part of the chatter among old school thinkers.

New school thinkers say, old school needs to catch up with the times. I consider myself a new school thinker, however I’m still in class. So, here’s what I’ve learned as I’m working on my undergraduate degree at "Street-Smart U”.
1. CD sales are on the decline
2. CD’s will not exist in a few years
3. Single song downloads are on the rise
4. Due to downloads, your ROI is going to be less
5. The industry as a whole is leaning towards EP’s
6. The general move is the DIYers can’t afford LP’s
One thing we do know for sure is, the industry is changing, it’s changing fast, and if you don’t want to get left in the dust you had better be ready for the change.
 
What does this have to do with the digital age?

The digital age is changing the face of the music industry forever. Where do we go, what do we do? These are the questions being asked, from the newbie, to the record execute, to radio, to infinity and beyond! Where do the answers lie? All of the answers have not come to the surface yet. However we are seeing with a lot more clarity, and it is getting clearer and clearer every day. So join us, as as we explore this complicated issue, and learn together where our future is leading us.

We would really love to hear your comments on this ever changing issue.

Let's learn together!!!!!!!!!

The music time bomb has exploded

The music industry is going through a shakeup.  Revenue from music sales has declined from more than $14.6 billion in 1999 to $6.3 billion a decade later.  Conventional wisdom holds that the rise of the Internet’s popularity is at the heart of this phenomenon, and the evidence mostly indicates that this view is correct.

Online stores like iTunes, along with an abundance of file-sharing and user-driven sites like YouTube, have changed the rules for marketing, selling, and distributing music.  To be sure, there are factors that complicate this narrative.  The 1990s likely saw a significant one-time boost in music sales as customers replaced vinyl records and cassette tapes with CDs.  Moreover, two recessions during the 2000s certainly did not help the industry.  Still, it is likely that technology, above all else, transformed the music business.  Record companies must adapt quickly or further risk becoming dinosaurs in an ever-changing commercial landscape. 

As illegal file sharing began to draw the ire of musicians and record companies, legal downloads became a growing business, as well.  Apple Inc. introduced its iPod music player in 2001, the dominant offering to this day; it added its iTunes online music store in 2003.  According to the NPD Group, a market research firm, the number of Internet users paying for downloads totaled 36 million in 2009, with online downloads accounting for 33 percent of music tracks purchased in the United States that year.  Digital sales rose between 2007 and 2009 despite the recession. 

Now that the bomb has exploded, and we have surveyed the damage, what do we do to help the wounded?  Who are the wounded?  Is there hope for them?  Is the internet the bomb, or the savior of the music business?  These are questions we must ask ourselves.  If we don't assess the damage and begin to take intentional action for the Arts, I believe we will see a watered down version, and lose the once thriving freedom of creativity.  The Arts community will lose its freedom from lack of funding due to unpaid royalties, and from its personal properties being given away through the internet.

We must take responsibility for our part in this ongoing dilemma.  Support the Arts, you just may be one of them!

The next american idol

OK, you asked.
For the past four years, American Idol has had a white streak of winners.  
Four white males in a row.  Its hard to believe.  As a white male myself,
I suppose I’m happy for these guys, but I am ready for something new
and I think America is too.  In 2008, record sales for David Cook were
an impressive 280,000 in his first week, placing at No. 3 on the Billboard Charts.

The next year the humble Kris Allen came out of the box selling 80,000 records in
performed Jennifer Hudson’s “You Pulled Me Through,” receiving a standing
ovation from the judges.  He’s got a gift that really sets him apart and I hope he
makes it to the finals.  Another early stand out this year is the
sweet and humble Hollie Cavanagh who took on the challenge
of singing “Reflection” by Christina Aguillera.  
Her early elimination before the viewer-voting rounds last season left
the then-17 year old in tears.  Jennifer Lopez predicted a year ago that
if young Cavanagh returned, she could come out on top.  This past week
Lopez reiterated her prediction and said that she stands by it, telling
Cavanagh that she is “going to be one of our front runners.”  
Its an exciting and new year.  I love American Idol and I love
watching live performances.  That being said, I’m ready for
some variety, for some different looks and some different talent
to really sweep it away this year.  Here’s to hoping America
votes that way too :)
         
                                                    Jacob Burton

Digital shift effects /AMP ON D.L.

Digital Shift Effects

RIAA'S and AMP'S POSITION  ON DIGITAL DOWNLOADS

This is 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 like 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.


Once again there's no need to beat this topic up.  We tend to want to blame all of the download sites for this dilemma.  The fact of the matter is, if the public was not to use these sites, we would not be having this discussion.  The future of  the quality of music is very gloomy if our attitudes don't change.  If the writers, artists etc. can't make a living at their craft, they will find something else to do.  It's nice to get free stuff.  However there's a difference between stealing and free!!!!!