A young man’s love of rock and roll told through secretly recorded conversations with his parents, and animates it 30 years later. Mike Cohen turns a weighty sense of history, and surely a frustrating time into one that’s incredible, after all these years.
The Brother Mike Tapes: 1985 from rodd perry on Vimeo.
Photo by Eva Murray
Mantinicus Island is a community off the coast of Maine, population 51. It sounds like the start of a Steven King novel, but it’s an actual town – they don’t have a high school or a doctor, or a mall, or lights or expedited delivery or drive-through eateries. But they do have a public library. It’s housed inside an 8 by 20 foot utility shed. Eva Murray, a resident of the island, writes about this awesome little library in the Penobscot Bay Pilot.
We have no dignified stone building and we will be doing without a pair of lion statues out front, an antique map room upstairs, or the classic stern and tweedy librarian shushing children from behind a marble desk. In the usual style of journalism about Matinicus, there is the list of what we don’t have: we don’t have the Dewey decimal system or library cards or late fees or any chance at a hushed and reverent silence. There will surely be no need for that. We hope to have our nascent library recognized by the Maine School and Library Network, and to eventually have our Internet through them. This was in fact the initial impetus for the whole library project. Last year Matinicus had no school-aged children on the island. In June of 2015, despite firm assertion on the part of our Superintendent of Schools that there would be enrolled students the following year (and indeed, there now are,) MSLN disconnected service to our school. Reconnection was, for some reason, an exceedingly drawn-out and laborious process. The connection provided by MSLN is much more than household subscriber Internet; it supports the school’s Tandberg videoconferencing unit, useful for meetings such as fisheries and energy-related informational workshops organized by the Island Institute, University of Maine courses for professional development and adult continuing education, special services or counseling that may be required by community members including students, and routine inter-connectivity among all of Maine’s one-room island schools. This level of service would not be affordable without MSLN.
-via Jessamyn West
It dominated the dancefloor throughout last year; and today OfficialCharts.com can reveal that Mark Ronson’s Uptown Funk is the biggest song of 2015.
The track, which features Bruno Mars, notched up a combined sales and streaming total of 1.76 million to finish at the top of the end of year chart. The song’s total combined sales since its release in November 2014 stand at 2.25 million.
Uptown Funk has proved unstoppable throughout 2015. As well as spending a total of seven weeks at Number 1, the track logged 39 weeks in the Top 40 before finally exiting in October.
Finishing at Number 2 is OMI’s Cheerleader (Felix Jaehn Remix). The summer smash first entered the Official Singles Chart at Number 96 in January and steadily scaled the tally for 14 weeks until its April impact date, eventually reaching the summit in May for four consecutive weeks. Cheerleader finishes 2015 with a combined sales total of 1.52 million.
Taking third place on 2015 biggest songs list is Hozier’s Take Me To Church with 1.25 million combined sales. The stirring soul-blues track racked up huge sales over the last 12 months despite never reaching Number 1, peaking at 2 for four consecutive weeks after a 20-week climb inside the Top 40.
At Number 4 is Ellie Goulding’s Love Me Like You Do. The 50 Shades Of Grey movie song topped the chart for four weeks (holding Hozier off the top spot for three of them!) back in February. By the end of 2015, the song notched up 1.19 million combined sales.
Rounding off the end of year Top 5 is Wiz Khalifa’s See You Again. The Fast & Furious 7 tribute to actor Paul Walker, which topped the Official Singles Chart for two weeks in April, finishes close behind Goulding on 1.17 million sales and streams. It’s also the first of two entries for the song’s guest star and co-writer Charlie Puth, who places at 34 with his Meghan Trainor collaboration Marvin Gaye.
| 1 | UPTOWN FUNK | MARK RONSON FT BRUNO MARS |
| 2 | CHEERLEADER (FELIX JAEHN REMIX) | OMI |
| 3 | TAKE ME TO CHURCH | HOZIER |
| 4 | LOVE ME LIKE YOU DO | ELLIE GOULDING |
| 5 | SEE YOU AGAIN | WIZ KHALIFA FT CHARLIE PUTH |
| 6 | HELLO | ADELE |
| 7 | LEAN ON | MAJOR LAZER FT MO & DJ SNAKE |
| 8 | HOLD BACK THE RIVER | JAMES BAY |
| 9 | WHAT DO YOU MEAN | JUSTIN BIEBER |
| 10 | SORRY | JUSTIN BIEBER |
| 11 | KING | YEARS & YEARS |
| 12 | THINKING OUT LOUD | ED SHEERAN |
| 13 | SUGAR | MAROON 5 |
| 14 | HOLD MY HAND | JESS GLYNNE |
| 15 | WHERE ARE U NOW | SKRILLEX & DIPLO/JUSTIN BIEBER |
| 16 | WANT TO WANT ME | JASON DERULO |
| 17 | ARE YOU WITH ME | LOST FREQUENCIES |
| 18 | FOURFIVE SECONDS | RIHANNA/KANYE WEST/MCCARTNEY |
| 19 | SHUT UP & DANCE | WALK THE MOON |
| 20 | HOW DEEP IS YOUR LOVE | CALVIN HARRIS & DISCIPLES |
| 21 | CAN’T FEEL MY FACE | WEEKND |
| 22 | FIRESTONE | KYGO FT CONRAD SEWELL |
| 23 | TRAP QUEEN | FETTY WAP |
| 24 | LOVE YOURSELF | JUSTIN BIEBER |
| 25 | THE HILLS | WEEKND |
| 26 | EARNED IT | WEEKND |
| 27 | BLACK MAGIC | LITTLE MIX |
| 28 | WISH YOU WERE MINE | PHILIP GEORGE |
| 29 | PHOTOGRAPH | ED SHEERAN |
| 30 | THE NIGHTS | AVICII |
| 31 | RUNAWAY (U & I) | GALANTIS |
| 32 | ELASTIC HEART | SIA |
| 33 | BLOODSTREAM | ED SHEERAN |
| 34 | MARVIN GAYE | CHARLIE PUTH FT MEGHAN TRAINOR |
| 35 | UP | OLLY MURS FT DEMI LOVATO |
| 36 | NOT LETTING GO | TINIE TEMPAH FT JESS GLYNNE |
| 37 | SHINE | YEARS & YEARS |
| 38 | AYO | CHRIS BROWN & TYGA |
| 39 | DON’T BE SO HARD ON YOURSELF | JESS GLYNNE |
| 40 | HOTLINE BLING | DRAKE |
Via Official Charts
See? Even 30 years ago, Star Wars was a very big deal. In 1984, the story about the galaxy far, far away made its television debut on CBS and this was a very big deal. Here’s the intro to that moment in history where Mark Hammill even wore a tux.
On December 15, 2015, the Copyright Royalty Board issued its decision establishing non-interactive webcasting royalty rates for sound recordings in the 2016-2020 period. These rates represent a partial increase over the amount currently paid by digital radio services transmitting music via the Internet. In 2016, the rate for nonsubscription services is $0.0017 per performance, and for subscription services, it is $0.0022 per performance. For the remainder of the term (through 2020), the prices will be adjusted according to the Consumer Price Index.
Future of Music Coalition CEO Casey Rae made the following statement:
These rates aren’t exactly a lump of coal. Over the past decade, we’ve seen billions of dollars in revenue generated by the explosive growth in webcasting. The new rates will allow artists and independent labels to participate in this success at a higher level. The fundamental value of popular Internet radio services comes from music creators, and we are glad this has been recognized in a healthy rate increase for non-subscription Internet radio services. Creators can feel good about how payout is structured under the statutory license, where revenue splits between artists and labels are fair and transparent, and payment to artists comes direct from SoundExchange.
We are concerned, however, that there does not appear to be a distinction in rates for small commercial webcasters. Digital music benefits from diversity, and services with more modest operations often help developing talent and niche genres find audiences while contributing to the overall revenue pool. If there isn’t an option for new entrants to perform music from a broad range of artists, we may end up with a less diverse digital landscape.
It also appears that by combining pureplay and commercial rates, incumbent broadcasters will receive a sizable reduction in royalty obligations for their digital transmissions. Commercial terrestrial radio already gets an unfair advantage due to the fact that they are not required to pay performers a dime for over-the-air broadcasts. This is in stark contrast to the rest of the developed world. Congress should take swift action to close this loophole to support a positive global balance of trade and the equitable treatment of American creators. And artists and their allies should push back on consolidated corporate FM getting yet another unfair advantage.
SoundExchange issued the statement below in response to the decision:
SoundExchange presented a strong case on the fair market rate for music played by webcasters utilizing the statutory license. Our rate proposal used data from dozens of marketplace deals and was based on what willing buyers and sellers would agree to.
“Music has tremendous value and is the core foundation of the webcasting industry. It’s only fair that artists and record labels receive a market price when their music is used. We believe the rates set by the CRB do not reflect a market price for music and will erode the value of music in our economy. We will review the decision closely and consider all of our options.
“Additionally it is deeply disappointing to see that broadcasters are being given another unfair advantage. In their terrestrial business they do not pay a dime for the recordings they use and now this $17B industry will receive an additional huge subsidy on the music they use in webcasting.
“As music advocates, SoundExchange represents the entire recorded music industry and we remain united on the principle that recording artists and rights owners deserve a fair market rate when their music is used.
“SoundExchange appreciates the efforts of the CRB judges and staff throughout this process.
The National Association of Broadcasters Executive Vice President of Communications Dennis Wharton released his statement, too:
We are reviewing the CRB decision, but are pleased that streaming rates have begun to move in the right direction. Broadcasters want to expand into new distribution platforms; the challenge has been that rates are too high for thousands of local stations. We hope today’s decision alleviates some of the rate burden and will enable more radio stations to stream music, which will benefit artists, songwriters and our millions of listeners.
Last Week Tonight host John Oliver helps you revise the New Year’s resolutions you’ve already failed to keep.
Chris Forsberg undecorated a Christmas Tree in 2.70 seconds using his car. I was hoping this video wouldn’t last 23 minutes of backstage footage and interviews, and since it’s only 14 seconds, here you go!
On a flying visit to London, Glen Hansard, the singer-songwriter and actor (Once, The Commitments) talks with Paul Stokes about his latest solo album, busking, life choices, The Frames and more.
New year, new beginnings, new opportunities.
2016 marks the fourth year for the CCMA Discovery Program – a national initiative, developed to support Canadian country music artists as they endeavor to reach their full potential in the music industry. The program provides unparalleled educational, mentorship, networking and exposure opportunities unlike any other opportunity offered in the country genre.
The CCMA is extremely proud of the way this program has grown over the years, and of how the Canadian country music community has embraced this venture. Applying is simple, and the opportunities are endless. The CCMA Discovery Program has certainly opened a number of doors for the finalists who have experienced it over the years. If applying this year isn’t on your radar, please do spread the word and encourage others to submit.
PROGRAM OVERVIEW
The 2016 CCMA Discovery Program will include the following components:
Music Industry Discovery Week: The six (6) selected acts (finalists) will be flown to Toronto for a week (April 24 – 29, 2016) to learn, in-depth, about the music business and artist development; including: industry-led information sessions, branding and media training, media interviews and the opportunity to perform at a private industry showcase.
Mentorship: The CCMA will pair each of the selected acts (finalists) with an established Canadian act for mentorship purposes. This connection will be made following Music Industry Discovery Week and prior to Country Music Week 2016 in London.
Country Music Week Discovery Showcase: This three-hour showcase (formerly known as the CCMA New Artist Showcase) spotlights the six selected acts (finalists) during Canada’s largest recognized celebration of country music (Country Music Week) and is an official CCMA-sanctioned event. With full concert production, and backed by a house band, each act will have the opportunity to perform in front of the music industry and fans alike.
CCMA Discovery Award Winner: During Country Music Week, one exceptional CCMA Discovery Program act (finalist) will be selected by an industry jury to receive the CCMA Discovery Award at the CCMA Gala Dinner & Awards. The award winner will also receive industry-related prizing.
HOW TO APPLY
Submissions are open as of Monday, January 4, 2016, 12:00 p.m. ET.
Interested applicants are invited to submit a high resolution headshot, two MP3 song files and a 50-word bio.
CLICK HERE to apply.
Deadline for submissions is Friday, January 22, 2016, 2:00 p.m. ET.
Canadian Music Blog put together a pie chart of Canadian album releases by genre for 2015. I’m not sure where they got the amount from, but let’s trust them. Of 661 albums (LPs) theytracked, theycame up with percentages based on genres. As you can see, the genre of choice for Canadian recording artists was singer – songwriter or folk at 143 of the 661 or 21.6% of the total. Close to that was alternative at 21.0% or 139 of the albums. The “other” category includes holiday albums, children’s, dance, reggae, and OST/musical. So, Canadians continue to be a country standing on the cusp of Neil Young, Joni Mitchell and Leonard Cohen-inspired rock and roll and folk singers, blazing across the planet of popular music.
