SPIN Presents Desert Session: A 2013 Coachella Mixtape
1. Shovels & Rope – “Birmingham”
2. Thee Oh Sees – “Toe Cutter – Thumb Buster”
3. Polica – “Dark Star”
4. Cloud Nothings – “Stay Useless”
5. White Arrows – “I Can Go”
6. Youth Lagoon – “Dropla”
7. The Descendents – “Cool to Be You”
8. Kill the Noise – “Mosh It Up”
9. Dog Blood – “Next Order”
10. SpaceGhostPurrp – “Starz”
The Coachella set times are up!
Some acts on Friday: Stone Roses, Yeah Yeah Yeahs, Modest Mouse, Stars, Blur
Some acts on Saturday: Pheonix, Sigur Ros, Spiritualized, Violent Femmes, New Order, Kill the Noise
Some acts on Sunday: Red Hot Chilli Peppers, Wu-tang Clan, Nick Cave, Vampire weekend, Lumineers, Social Distortion
Economist Mark J. Perry has a simple solution to Mick Jagger’s secondary ticket market complaints. Sell more tickets.
From Perry’s blog:
From an interview with Mick Jagger in the Chicago Tribune about the Rolling Stones’ upcoming North American tour, their first since 2006:
Q: People are already fretting that the secondary ticket market will gobble up most of the best seats and resell them at several times face value. What is your attitude toward these secondary market sellers and are the Stones participating at all in those profits?
Mick Jagger: I’m very much against the secondary ticket market. I don’t know anyone who isn’t. We have a lot of secondary market problems in the U.K., it’s really bad there. And lots of artists are starting to participate in it, because they put the tickets up at a certain price, then the tickets get marked up by the secondary sellers and someone else gets twice as much as you. Personally, we don’t participate in it. That’s the view we take. I think it should be illegal, and in the U.K. it would be very easy to stop it. It’s a very concentrated operation you could stop immediately. It’s a bigger problem in the U.S., more difficult to contain, but they don’t even try. It should be made completely illegal. If people don’t like it, don’t complain to the artists. Each state should make secondary reselling illegal.
… if Mick Jagger wants to eliminate the secondary market for Rolling Stones concert tickets, he doesn’t need any new government rules, laws or legislation. He should simply proceed as follows:
1. Mick, you and your representatives (agents, managers, promoters, etc.) control the supply of tickets. So stop under-supplying concert tickets relative to the demand from your fans, and immediately start increasing the number of Rolling Stone shows and tickets for your North American tour.
Take a lesson from the movie industry – there’s no active secondary market for movie tickets, because they don’t under-supply the number of tickets the way the music industry does. If a blockbuster movie like Argo or Lincoln played in one theater in each city for one night the way rock concerts are typically scheduled, then there would be a huge secondary market with movie tickets selling far above their face value.
Bottom Line: A secondary market for concert tickets only exists because musicians and their representatives under-supply and under-price concert tickets relative to demand and market forces.
2.Mick, you and your representatives control the price of your concert tickets. So stop under-pricing them relative to their true market value. Raise ticket prices to accurately reflect market forces and you’ll eliminate the secondary market.
A very powerful, intimate and enlightening talk from Amanda Palmer where she discusses connecting with fans and creating real world interactions from digital beginnings. It’ really worth the watch.
In a very thought provoking article, Moses Avalon discusses why he thinks the major labels won’t mind if digital sales die in favor of payments from streaming services such as Rdio, Spotify Last.fm etc…
Tortured album sales (which inched ahead since 2010 with the death of the two biggest illegal P2P services: Limewire and Kazaa) has inspired cost-cutting in the supply chain, thus reducing royalties and fees paid to music creators. Net result: the industry has hovered at $10 Billion a year and thus-far survived the Internet transition many other industries have failed to do. Score one (a big one) for the majors.
But will it matter?
The latest music Armageddon theory is that subscription based streaming services like, Spotify, MOG, Last.fm and Rdio (“Streaming”) will cannibalize recording artist’s main revenue: ownership, both of physical CDs and downloads from stores like iTunes and Amazon.
Why buy and maintain files if you can stream them on demand any time, anywhere, through any device for nine bucks a month?
The industry jargon for this is called going from an
“ownership model to an access model.”
A great read. Check it out at Moses Supposes
Annie Clements has toured with multi-platinum country duo Sugarland for the past seven years, serving as bassist and backing vocalist. In this half-hour online Open House event, Annie shares insight on what she’s learned about the music industry, and discusses her entrepreneurial approach to maintaining a career as a professional musician in the modern music industry.
About Annie Clements
Annie Clements is a graduate of Berklee College of Music (’03) and continues her education online with Berkleemusic. A New Orleans native, she has forged a substantial career as a bassist and backing vocalist, having spent the last seven years touring with country juggernaut Sugarland. The duo has sold over 14 million records world-wide, many of which feature Clements on bass and backing vocals, including a live album that debuted at Number 1 on the Billboard charts. With Sugarland, Annie has performed alongside Beyonce, Lady Gaga, Bon Jovi, Kenny Chesney, the B-52’s, and many others. She was also a part of the legendary Fender Strat Pack concert to honor the 50th anniversary of the Fender Stratocaster along with Brian May, David Gilmour, Joe Walsh, Ron Wood and other guitar legends. Annie’s rock solid bass work combined with her vocal capabilities have made her an in-demand “sideman,” carrying her to the biggest stages and largest crowds all over the world.
Harvey, instructor of our online courses Creative Writing: Finding Your Voice and Creative Writing: Poetry on May 10th.
Caroline is an Assistant Professor in the Liberal Arts department at Berklee College of Music, as well as an online instructor for Berkleemusic. An accomplished writer and performer, she was hand-picked by Professor Pat Pattison to teach his newest online courses, Creative Writing: Finding Your Voice and Creative Writing: Poetry.
Berkleemusic hosted an online Open House with instructor Steve Morse, author/instructor of our online course rock history on March 8th.
Discover the history of rock ‘n’ roll in more detail than you can imagine. In Rock History, you will learn where rock music started, how it evolved, its highs and lows, its outlaws and visionaries, and how it changed social history by combating racism and challenging the establishment with alternate lifestyles and fashions.
The course features exclusive video interviews with Joe Perry of Aerosmith, Bob Weir of the Grateful Dead, Ernie Isley of the Isley Brothers, Mike Mills of R.E.M., Hugo Burnham of Gang of Four, Amanda Palmer, Duke Levine of the J. Geils Band, British session drummer Dave Mattacks who also toured with Fairport Convention and Richard Thompson, rock promoter Don Law, George Clinton of mastermind of Parliament and Funkadelic, and producer Jack Douglas, who has worked with John Lennon, Aerosmith, Patti Smith, Lou Reed, and many others.
Rick is an internationally-known guitarist, clinician, composer, and writer. He’s also the Assistant Chair of Berklee College of Music’s Guitar Department, as well as a course author and instructor of several online guitar courses with Berkleemusic, including Guitar Chords 101 and Guitar Chords 201: Chord Melody and Inversions.
Mike King is a course author, instructor, and the Director of Marketing at Berkleemusic, the online extension school of Berklee College of Music. Prior to working at Berklee, he was the Marketing/Product Manager at Rykodisc, where he oversaw marketing efforts for label artists including Mickey Hart, Jeb Loy Nichols, Morphine, Jess Klein, Voices On The Verge, Bill Hicks, The Slip, Pork Tornado (Phish), Kelly Joe Phelps, and Frank Zappa’s estate.
As a bass player, producer, and laptop musician, Loudon’s music can be heard on numerous documentaries and short films. While continuing his studies of composition, engineering, and sound design, he is currently pursuing a degree in physics as part of ongoing search for the answer to the question of life the universe and everything.
Berkleemusic hosted an online Open House with instructor Dan Thompson, author/instructor of our online courses Critical Listening 1 and Advanced Audio Ear Training for Mix Engineers, on December 15th.
Dan is an independent writer/producer and recording engineer, his credits include work on records, feature films, and television series and movies, including ER, The Sopranos, Swimfan, The Sweetest Thing, Melrose Place, Malibu Shores, Sabrina the Teenage Witch, Touched By An Angel, Soul Food and NCIS, to name just a few. Dan has authored articles on music technology for EQ and Electronic Musician, has been a presenter and clinician on music production topics in the U.S. and abroad, including at the Panama Jazz Festival, and his book Understanding Audio (Berklee Press, 2005) is a required textbook for Berklee College of Music’s own Music Production and Engineering classes, as well as for numerous other music production and engineering programs throughout the country and abroad. He is a member of the National Academy of Recording Arts and Sciences (NARAS), the Audio Engineering Society (AES), and the American Society of Composers, Authors and Publishers (ASCAP).
A stunning article by Ariel Hyatt (Ariel Publicity) about how important social media is to your career. Why is it important to control your message and have your own followers or tribe outside of the mainstream media. Tell your own story, tell it to the people and control your music career.
In mass media you have NO control.
Social media comes from you. You get to tell the story that you want to tell. There will never be producers grilling you under hot lights with cell phones ringing in their ears to get a version of a story that they want.
Have you ever heard of someone being interviewed for hours for a newspaper or TV piece and then one teeny snippet (sometimes taken out of context) is what makes it onto the 6 o’clock news?
As a publicist working with traditional media I saw it EVERY DAY.
In mass media it is their truth.
In social media you have the right to defend yourself if anyone has objections or paints a picture of you that you don’t recognize as your truth.
And in social media you have the freedom to go deeper to explain if you want, openly in front of anyone who wants to see.
The best part about telling your story is:
You can build your own tribe and they can choose to come with you on your journey
Newhouse, author/instructor of our online courses Orchestration 1 and 2 and Music Composition for Film and TV, on November 14th.
Ben Newhouse has worked as a music supervisor and composer on dozens of television shows, films, and stage productions for media corporations including ABC, FOX, MTV, and Disney. He has arranged movie themes, sixties pop music, Broadway shows, and scored for several full-length feature films using Digital Performer.
Berkleemusic hosted an online Open House with instructor Peter Bell, author/instructor of our online Jingle Writing course, on November 3rd.
Peter Bell is a producer, composer, and guitarist. His compositions and productions include “May It Happen For You” (the theme song to the award-winning film Radio Cape Cod) and the themes to This Old House, New Yankee Workshop, Victory Garden, as well as countless jingles and production tracks.