Kamis, 27 Desember 2007

My Chemical Romance To Split?

image My Chemical Romance

My Chemical Romance have published a cryptic message on their website which has lead to rumours of a split.

On TheBlackParade.com, there is a repeating image of of a hospital monitor's flatline and the words "00 BPM" on the bottom right handside of the screen.

To add more mystery to the online message, the band played as fictional group The Black Parade at gigs earlier this year, a reference to MCR's album, Welcome To The Black Parade.

Now fans of the emo troup are speculating as to whether this means the complete end of the band or just the 'Black Parade' era?

Selasa, 18 Desember 2007

Kylie Minogue And Paul McCartney To Duet


Words By MusicRooms


Paul McCartney and Kylie Minogue are set to perform a New Year's duet.

The singers have teamed up for a rendition of Dance Tonight, taken from McCartney's recent solo album.

Fans of the singing duo can catch the performance when it is broadcast as part of Jool's Holland's Hootenanny show on BBC2.

Petite pop star Kylie has also recorded a piano version of her early hit, I Should Be So Lucky for the annual festive showdown with Jools tinkling the ivories.

Hootenanny will be aired just before midnight on December 31, with Kate Nash and Kaiser Chiefs also lined up for the festive bill.

Senin, 17 Desember 2007

Coldplay Record Christmas Song - Listen Now

Words By MusicRooms

image Coldplay

Coldplay have recorded a cover version of '2000 Miles', a hit by The Pretenders in 1983.

The christmas classic has been posted up on the Coldplay website, allowing fans to listen to it now.

Writing on the site, frontman Chris Martin writes: “We love Christmas songs, but every time we try and write one it’s awful. So we cover them. Well, once or twice actually.

Listen now www.coldplay.com

Minggu, 16 Desember 2007

Singer/songwriter Dan Fogelberg Dies

Dan Fogelberg: Nine top-30  albums in two-decade span.


Dan Fogelberg, one of the most popular singer/songwriters of the '70s and '80s, died Sunday at home in Maine at age 56. He had battled advanced prostate cancer since being diagnosed in 2004.

Fogelberg was a key component of the golden age of the confessional singer/songwriter, joining the likes of James Taylor, Carole King, Jackson Browne and more in turning pop music's focus inward after the '60s' explosion of social commentary. He had started as a rocker in bands around his hometown of Peoria, Ill., but began performing solo while attending the University of Illinois.

There he met a local booking agent, Irving Azoff. He and local band REO Speedwagon became Azoff's first managerial projects (prior to managing the Eagles). Azoff secured Fogelberg a contract with Columbia, but first album Home Free made little impact. 1974's Joe Walsh-produced Souvenirs, however, hit the top 20, thanks largely to hit single Part of the Plan, and Fogelberg embarked on a two-decade run that would include nine top-30 albums (including three that hit the top 10).

His best-remembered songs include his biggest hit, the affecting ballad Longer; The Power of Gold, a collaboration with flautist Tim Weisberg; Leader of the Band, a tribute to his bandleader father, Lawrence; and the evergreen seasonal standard Same Old Lang Syne, which originally hit the top 10 in 1980.

In later years, he ventured into new musical territory, recording a successful pure-bluegrass album, High Country Snows, in 1985, and tackling broader political, spiritual and environmental issues in his songs. His last album, Full Circle, was released in 2003.

The most apt summation of his life's work likely comes from Fogelberg himself, when he said, as quoted in his online biography, "You've got to just follow your heart and do your best work … There is no doubt in my mind or heart that everything I've done is exactly what I intended to do."

Rabu, 12 Desember 2007

Groban's 'Noel' matches Elvis' mark

By Todd Martens, Los Angeles Times Staff Writer
December 13, 2007
Crooner Josh Groban cruises to a third straight week atop the U.S. pop chart, his "Noel" having sold 581,000 copies. Groban is the first artist since Elvis Presley to lead the U.S. chart for three consecutive weeks with a Christmas album.

Billboard reports that Presley's "Elvis' Christmas Album" spent three weeks atop the chart in 1957. Overall sales for "Noel" are up 8% in its ninth week of release, as the set moved 539,000 copies last week. "Noel" has now sold more than 2 million copies.

The only newcomer in this week's Top 10 is "American Idol" graduate Blake Lewis. His "Audio Daydream" entered at No. 10 after selling 98,000 copies.

Young country star Taylor Swift muscled back into the Top 10 with her debut. Sales are up 39% after Swift received a Grammy nomination for best new artist last week. Her album is at No. 9 after selling 99,000 copies.

Other Grammy nominees who got significant sales bumps last week include another new artist candidate, Paramore (up 55%); Amy Winehouse, whose six nominations contributed to a 48% sales hike for her "Back to Black" album (at No. 82); Daughtry (up 31%); and Reba McEntire (up 29%).

Otherwise, the chart continues to be dominated by Alicia Keys' "As I Am," which is at No. 2 after selling 234,000 copies, and the Eagles' "Long Road Out of Eden," at No. 3.

In six weeks, the classic-rock band's first studio album in 28 years has topped the 2 million sales mark, as "Eden" added 204,000 more copies this week. "Eden" has become the fifth bestselling album of 2007 in the U.S., with the soundtrack to "High School Musical 2" still on track to be the bestselling album of the year.

todd.martens@latimes.com

Selasa, 11 Desember 2007

R. Kelly Concert Protest Planned


Black activists cite sex charges against the R & B star in calling for action at the Forum on Friday.

By Geoff Boucher, Los Angeles Times Staff Writer
December 12, 2007
Jasmyne Cannick and other black activists plan to station themselves across the street from the Forum on Friday to protest a concert that night by R. Kelly, the R&B superstar and celebrity defendant, but Cannick is already resigned to the fact that her picket line will be outnumbered by scalpers.

"It's like pulling teeth to get people to talk about this," Cannick said. "It's a challenge to get the black community to even discuss it. . . . They're acting like he doesn't have 14 counts of child pornography against him. . . . We're all acting like we don't have daughters and nieces and little sisters."

The silence that seems deafening to Cannick is a relief to Derrell McDavid, Kelly's manager. "There's been no protests on this tour," he said Tuesday. "It's just been a warm embrace and sold-out shows." (The Thursday show at Honda Center in Anaheim, however, has been called off due to sluggish sales, and refunds are being offered.)

Kelly was caught up in a tempest in 2002 when a videotape that purportedly showed him engaging in sex acts with a girl in her early teens opened the door to criminal charges and lawsuits from females who claimed they were also his underage sex partners. Even before that, Kelly had a reputation for sexual contact with female minors -- not only did he write the 1994 hit "Age Ain't Nothing but a Number" for the late singer Aaliyah, it was revealed later that he married her when she was 15 and he was 27.

The criminal case is still winding through the courts after repeated delays, but Kelly's career has not only endured, it has thrived. In 2002-2003, he had one of his biggest hits ever, "Ignition (Remix)," which kicked off a run of successful years. This year, "Double Up" became the fifth R. Kelly album to debut at No. 1 on the Billboard 200, and he has just been nominated for two Grammys. As McDavid said: "He's at the top of his game."

On Tuesday, a group of protesters gathered at the Forum to call on the venue's owner, the Faithful Central Bible Church, to call off the show. In 2005, the church canceled a performance by a heavy-metal band that Chief Operating Officer Marc Little said was "antithetical to our beliefs." Little and other Forum executives did not return calls Tuesday. Cannick was not optimistic about her cause: "Everyone is making money, and everyone seems OK with him. People really need to wake up."

geoff.boucher@latimes.com

Led Zeppelin Rocks Again in London

Led Zeppelin
Kevin Westenberg / Getty Images
Robert Plant, Jimmy Page, John Paul Jones and Jason Bonham of Led Zeppelin perform on stage Monday at the O2 Arena in London.
It had been a long time since they'd rock and rolled, but the band played one more time to a rapt crowd. The players aged, but the song remains the same.
By Kim Murphy, Los Angeles Times Staff Writer
December 11, 2007
LONDON -- With a thunder of power chords and rock-and-roll swagger, Led Zeppelin broke a silence of two decades Monday in a laser-and-smoke reunion for which more than a million fans from around the world sought to book passage.

The band that boldly breached the barriers between rock, blues and airy mysticism and nurtured a generation on the cusp between the 1960s and 1970s emerged for a sell-out performance in front of about 20,000 concertgoers in east London -- one of the most eagerly awaited rock events of the decade.

"Out there are people from 50 countries, and there's a sign out there that says 'Hammer of the Gods,' " lead singer Robert Plant said, referring to one of the group's most famous lyrics, which has also come to be its most enduring motto. "I can't believe that people from 50 countries would come to see that -- so late in life!" he said wryly.

"This is the 51st country!" he roared then, as the band broke into "Kashmir," the exotic, melodic and deep-throated anthem that is one of its signatures, against a backdrop of wheeling batik suns and with a sweating, white-haired Jimmy Page on lead guitar.

Concertgoers from as far away as New Zealand, Japan and California made the trek after winning a ticket lottery that allocated a maximum of two seats per person at a price of $250 each, with painstaking care to prevent entries being sold off to scalpers that left some fans waiting three hours in the rain Sunday to secure their seats.

The event was organized as a tribute to the late Ahmet Ertegun, co-founder of Atlantic Records, and also featured performances by Bill Wyman's Rhythm Kings, led by the former Rolling Stones bassist; Foreigner; Paul Rodgers; and Paolo Nutini.

Led Zeppelin drummer John Bonham's alcohol-related death in 1980 spelled the end of the band, and Monday's performance featured Bonham's son, Jason, now a drummer with Foreigner.

In a city accustomed to cultural happenings, the Led Zeppelin reunion assumed massive proportions, with many here billing it the "concert of the millennium" by "the greatest rock and roll band ever."

A band that was already being dismissed by critics as self-indulgent by the late 1970s and passé by the time new wave and punk strode onto the stage in the 1980s has suddenly acquired new currency, simultaneously earning the covers this week of Rolling Stone in the U.S. and Q Magazine in the U.K.

"I don't think they were ever appreciated for the scale of band they were," Paul Rees, editor of Q, said in an interview. "Maybe it's a sort of 'absence makes the heart grow fonder,' but it's taken people time to realize the massive influence they had on an awful lot of music."

"They could be really heavy, but they could also be pastoral. They were ambitious, catchy, they had the whole thing," said Scott Rowley, editor of Classic Rock magazine. "Is it a nostalgia fest? Yeah, it probably is."

For many who flooded into London's O2 Arena, it was an unapologetic trip to a well-remembered past.

"I saw them in '73, '75 and '77. I'm what you could call hard core. It's part of your soul. It's part of everything you did in the '70s," said Tina Ricardo, co-owner of Rick's Sports Bar in San Francisco, who left her husband at home when she won the ticket lottery and came with her girlfriend.

"How many chances do you get to live something over? That's it," she said. "I'm starting to cry now, just thinking about it."

Likewise for fans from Tokyo. "I saw Led Zeppelin in 1971 and '72. That was 35 years ago. What can I say? So exciting," said Yoshihiro Hoshina, 53, who won tickets after entering the lottery with three different e-mail addresses.

"Led Zeppelin broke five hotel rooms in Japan -- that's a bit of Japan history," he said before the concert. "But they're getting old; can Robert Plant sing in that high voice? Can Jimmy Page still play so smooth?"

Answer: pretty much. The 59-year-old Plant had his shirt open modestly to the breastbone, a hint of the bare-abdomened rooster swagger of yesteryear, but managed the high screeches near the end of "Stairway to Heaven" -- still one of the most-played songs on U.S. radio, and which recently entered the charts again last week with the release of Led Zeppelin's catalog online.

"Hey Ahmet, we did it!" Plant yelled in triumph as the band concluded the song that sounded a bit mystical and silly in the old days but now has an aching touch of lost youth in its hint of possibilities: "Yes there are two paths you can go by, but in the long run, there's still time to change the road you're on."

Or there was.

The Bic lighters once held high by audience members were replaced by the glow of digital cameras and cellphones, but there were still plenty of raised, clenched fists and waving hair -- plus plenty of beer and an occasional waft of marijuana.

A large number of the couples were father and son.

"I introduced my son to it. He wasn't into it at first, but he changed," said Owen Williams, 51, from Berkeshire. "He started playing guitar himself, and the Led Zeppelin kicked in; everything changed. He's stolen all my records and CDs."

The band opened with a clip from the newly remastered "The Song Remains the Same" DVD depicting the group's triumphal U.S. gig in 1973 that surpassed a Beatles attendance record, then kicked into "Good Times, Bad Times," the opening track from its 1969 debut album.

The concert marked the first live performance of "For Your Life," from the group's Presence album.

Instead of the old melodramatic hair-swinging and exaggerated erotic strutting, Plant; Page, 63; and bassist John Paul Jones, 61, played the first sets with easygoing confidence. Their good humor built into triumphant intensity as the night wore on; Page pulled out the cello bow on "Dazed and Confused" and worked like a shaman conjurer, glowing under a twirling pyramid of green lasers.

"It's quite peculiar to imagine. I don't know how many songs we've recorded together, choosing songs from 10 different albums for a dynamic event like this. There are certain songs that have to be there, and this is one of them," Plant said as the song began.

The finale of "Whole Lotta Love," played as the first of two encores, was as raw and mesmerizing as ever, and then the band fell into "Rock and Roll" -- It had been a long time, a long lonely, lonely time, and with nothing but rumors of a tour, no one knew for sure when, or if, it would happen again.

kim.murphy@latimes.com

Senin, 10 Desember 2007

Quiet Riot Singer Died of Overdose


The death last month of Kevin Dubrow has been ruled an accidental cocaine overdose.
By the Associated Press
December 10, 2007
LAS VEGAS (AP) -- The death last month of Kevin Dubrow, lead singer for the 1980s heavy metal band Quiet Riot, has been ruled an accidental cocaine overdose.

Clark County coroner spokeswoman Samantha Charles confirmed the cause Monday after toxicology results were received Monday.

Dubrow was found dead Nov. 25 at his Las Vegas home. He was 52.

Quiet Riot was perhaps best known for its 1983 cover of "Cum on Feel the Noize." The song, featuring Dubrow's powerful, gravelly voice, appeared on the band's album "Metal Health" -- which was the first by a metal band to reach No. 1 on the Billboard chart.

DuBrow recorded a solo album in 2004, "In for the Kill," and the band's last studio CD, "Rehab," came out in October 2006.

Minggu, 09 Desember 2007

Will Zeppelin tour again, or is it just a trial balloon?

Robert Plant & Jimmy Page
Amy Sancetta / AP
Led Zeppelin bandmates Robert Plant, left, and Jimmy Page, as seen in 1985.
Word is spreading that the rock group might play Bonnaroo. Promoter says they're set to play a tribute concert in London, but that might open a door.
By Geoff Boucher, Los Angeles Times Staff Writer
December 10, 2007
Will Led Zeppelin play Bonnaroo, the huge rock festival staged each June in Manchester, Tenn.?

That's the big rumor in the music industry leading up to the classic-rock demi-gods' performance Monday at a tribute concert in London and lead singer Robert Plant's recent comments advocating a full-scale reunion tour (which Rolling Stone has already dubbed "the biggest tour ever" on its cover).



Bonnaroo, which hosted a high-profile stop on the Police reunion tour this year, would seem like an ideal spot (and Zep bassist John Paul Jones even played there already as part of this year's bill) but we hear that Zeppelin will not be flying high at the jam-inclined festival.

"It's just a rumor, none of that is real," says Randy Phillips, chief executive of AEG Live, the concert promotion company that runs O2, the London arena where Zep will be playing in a tribute to Ahmet Ertegun, one of the most celebrated figures in the music industry as the co-founder of Atlantic Records. AEG is pushing hard for the Zeppelin tour; Phillips said today he was headed from Los Angeles to England to "meet with Bill Curbishly, the band's manager, and hand him a huge offer."

Plant has a tour on tap with Alison Krauss to promote their new duet album, "Raising Sand." The Zeppelin tour would have Plant, guitar hero Jimmy Page, Jones and drummer Jason Bonham (behind the kit in place of his late father, rock icon John Bonham), and, by all appearances, it seems to be girding up with the same positive inertia that recently carried the Police back on the road and the Eagles back into the studio.

"The reality is Zeppelin has not agreed to a tour," Phillips said. "They want to play this show and see how it goes, how it feels, and then go from there. There's nothing firm yet, but maybe afterward."

Zeppelin is the bestselling heavy-metal act ever, with nearly 110 million albums shipped, according to the Recording Industry Assn. of America. The group hasn't toured since 1980 (the year Bonham died), and their last full concert dates in the U.S. were in 1977. (The surviving members did perform a short set at the industry banquet for their 1995 induction into the Rock and Roll Hall of Fame.)

How much appetite is there for a Zeppelin reunion? Industry sources compare the likely box office to the recent record-setting road-runs by the Rolling Stones or U2, but it may be even more: Organizers of the online ticket lottery for the Ertegun tribute said 20 million requests came in for a show with 16,000 seats.

geoff.boucher@latimes.com

Rabu, 05 Desember 2007

Grammy Subplots

Bruce Springsteen
AFP / Getty Images
Springsteen's "Born in the U.S.A." from 1984 and "The Rising" from 2002 were both nominated for overall best album.
By Geoff Boucher, Los Angeles Times Staff Writer
December 6, 2007
Is it finally time for Bruce Springsteen's magic Grammy moment? And how willing are Grammy voters to embrace the talented but troubled Amy Winehouse?

Those are two of the subplots Thursday (Dec. 6) at the announcement of nominations for the 50th Annual Grammy Awards. Winners will be announced Feb. 10 at Staples Center in a ceremony to be broadcast on CBS.


Springsteen's album "Magic" is considered by many industry insiders to be a strong contender for album of the year -- a trophy Springsteen has been twice nominated for but never won.

Springsteen is deeply respected in the industry, and "Magic," which entered the U.S. album sales chart at No. 1 in October, has him back with the E Street Band. Springsteen's "Born in the U.S.A." from 1984 and "The Rising" from 2002 were both nominated for overall best album but the awards went instead to Lionel Richie and Norah Jones, respectively.

Winehouse, the British singer with an earthy, throwback soul style and the hit "Rehab," would seem to be a sure bet for best new artist nomination and possibly nods in the album and record of the year fields. But the 24-year-old also appears to be spinning out of control; she has just canceled a tour, her husband has been jailed and her drug issues have become daily fodder for the British tabloids.

Others who may vie for the album trophy include rapper Kanye West ("Graduation"), country veteran Reba McEntire ("Reba Duets"), Canadian art-rock band Arcade Fire ("Neon Bible") and alt-metal band Linkin Park ("Minutes to Midnight").

geoff.boucher@latimes.com

Selasa, 04 Desember 2007

Backstage at Grammys with a man in the know


Grammy producer tells all.

By Geoff Boucher
December 5, 2007

"Excuse me, could you turn down the music? I mean, I like Sinatra, but. . . ." The waiter at the Italian restaurant gave the customer, Ken Ehrlich, a puzzled look before shrugging and walking off in search of a volume knob. Even when he's sitting beneath dangling Chianti bottles and eating antipasto in Hollywood, the executive producer of the Grammy Awards still has strong opinions about the way music should reach the public.

Ehrlich is one of the most powerful gatekeepers in the music industry and, with nominations for the 50th Annual Grammy Awards due Thursday, his cellphone will soon be burning up with calls from label executives, managers and sometimes artists themselves, all lobbying, demanding or begging to get a moment in one of the brightest spotlights in the music industry. A sparkling performance on the Grammys not only can yield a commercial windfall, it can shape careers.

The 63-year-old Ehrlich knows the pressure of all that (he is only two years removed from a quadruple heart bypass that he partly assigns to the stress of 27 years of the the Grammy show), and he also feels the weight of the history. That's clear on every page of his just-published backstage memoir, "At the Grammys!: Behind the Scenes at Music's Biggest Night" (Hal Leonard, $29.95), which, despite the breathless title, is like Ehrlich himself -- understated, candid and impatient with those celebrities he deems arrogant or, worse, possessing only flimsy talent.

Take for example his reprinting of a handwritten note from Britney Spears that arrived on the eve of the 2006 show requesting a spot for her as a presenter ("I wanted to write you personally in hopes that you might find a place for me on the show . . ."). Ehrlich was unmoved; a few years earlier, he had been advised that he shouldn't speak directly to the star, only to her manager, and he was still seething. In his book, he reports his response to Spears' overture: "I think we ought to keep the relationship the way it was then."

All of the expected Grammy moments are accounted for in the memoir, among them the bizarre "soy bomb" incident, when a loopy fan with body paint jumped on stage with Bob Dylan at the 1998 show, and the sublime, last-minute performance of "Nessun Dorma" by Aretha Franklin, filling in for an ailing Luciano Pavarotti that same year.

The more interesting stories, though, are the smaller ones that never made it on camera but reveal just as much about the strange physics of the celebrity universe.

For a lesson in jockeying, there's the 1991 Grammys, when Ehrlich dearly wanted to book his old friend and idol Tony Bennett, but the Recording Academy leadership balked until Ehrlich had the idea of pairing Bennett with Harry Connick Jr., who was not far removed from his "When Harry Met Sally . . ." success.

Connick was thrilled with the idea that would have him sing and then introduce Bennett, but then, after everything was set, his manager said Connick would drop out of the show unless the performance order was switched -- the younger singer wanted Bennett to "open for him" and introduce him. Ehrlich fumed, but Bennett agreed.

The story doesn't end there -- Bennett was so sensational in rehearsals that he got a standing ovation from the crew at Radio City Music Hall. Five minutes after that, Connick's people had a change of heart: They didn't want to follow Bennett after all. Ehrlich, with some glee, announced that it was too late. "I had no great desire to please the manager," he writes.

These are not stories Ehrlich expected to be telling the world.

Senin, 03 Desember 2007

BIG PICTURE: Just what is entertainment worth?


Unease hovers over the strike like a black cloud: no one in Hollywood can agree on the value of entertainment.
By Patrick Goldstein, Los Angeles Times Staff Writer
December 4, 2007
THE writers strike negotiations disintegrated again last week, with an allegedly "groundbreaking" proposal from the studios dismissed by writers as a massive rollback. With much of Hollywood grinding to a halt and widespread pessimism about how long a strike will last, everyone is asking why the two sides can't find common ground.

There's a simple answer, but it has nothing to do with what's going on -- or more accurately, not going on -- at the negotiating table. On the surface, the impasse revolves around how to divvy up future Internet media revenues. But the real problem is that nobody knows the value of anything anymore. Whether we're reading horror stories about the mortgage meltdown, watching the dollar plummet or gagging on the prices at our neighborhood gas station, we're all stumbling around with a nagging feeling that the value of things has become unmoored.

It's this sense of growing unease that has hovered like a black cloud over the strike negotiations. No one in Hollywood can agree on the value of entertainment.

"It's in the zeitgeist now -- we're at a moment in time where people don't how to value things," says Michael Lynton, chairman of Sony Pictures Entertainment. "Art and media are a reflection of society. And if you no longer have an internal sense of what the dollar or a tank of gas is worth, it's no surprise that you don't know what content on the Internet is worth either. It goes to the heart of why we're at an impasse with the Writers Guild. If no one has a clear understanding of what entertainment is worth, then no one really knows what they're negotiating about."

Everywhere you look in today's culture, there's an uproar over the price structure for entertainment. That's particularly true when it comes to new media. For example, YouTube has driven media companies crazy by letting fans watch free clips from TV shows that studios hope to make huge profits from in various ancillary areas. Are those clips stopping us from watching the shows or are they making us fans of them? If you can't agree on that, you can't agree on their value.

There's a good reason why the WGA negotiations have foundered over Internet revenues. The Web is often described as a disruptive technology, but what it's really done is undermine a long-held consensus over the value of information and entertainment. "It started with downloading music, but now it involves all sorts of things," says TV writer-producer Marshall Herskovitz, co-creator of the Web series "Quarterlife." "People feel, 'If something is in my house, why should I pay for it? It's a private transaction between me and my computer.' People today have a real confusion over why some things are free on the Internet and others aren't."

The music business, which has become something of a canary in the coal mine for worried media conglomerates, has been buffeted by value-of-product clashes for years. The entire record company economic model has crumbled after young music consumers decided, almost overnight, that they preferred sharing downloads on the Internet to buying CDs full of songs they didn't want.

Radiohead released its latest album only on the Internet, allowing fans to decide how much they wanted to pay for it. In a sign of just how little consensus there is today about the value of entertainment, a big chunk of fans downloaded the songs for free while, in the U.S., 40% of the fans paid an average of $8 for it. Even the band's own fans had very different ideas of how much the music was worth.

The concert business is especially full of value-inspired tumult. The top ticket to see Miley Cyrus (star of Disney's "Hannah Montana") this fall had a face value of $63, but a donnybrook broke out when parents discovered that most of the tickets were in the hands of scalpers selling them for up to $3,000. Older fans have been swamping message boards with complaints about sky-high ticket prices for everyone from Neil Young to Eric Clapton and Steve Winwood, whose upcoming tour tickets are going for $250.

No one can agree on a fair price for a concert ticket because market forces have upended the entire price structure. Thanks to the Internet, scalpers are making mass ticket buys through automated computer programs. This day-trader-style speculation has put pop artists, who worry about their images just as much as movie stars do, in a public-relations conundrum. If you keep fans happy with low ticket prices, you empower ticket scalpers, who make millions off your drawing power. If you raise prices to take the air out of the scalper's secondary market, your fans trash you as greedy.

The booming art market has been in a tizzy in recent weeks after a Hugh Grant-owned Andy Warhol portrait of Elizabeth Taylor, expected to sell for as much as $35 million, barely went for $23 million, inspiring commentators to fret about a market collapse. It turns out Grant bought the painting six years ago for $3.6 million, so while all those art insiders were wringing their hands, I was thinking about calling Hugh for tips. But in terms of value, everyone saw the sale in a different light.

Perhaps both sides in the writers strike should start studying the new economic model operating in today's pop music world. If your product has lost its value in one arena -- meaning if no one's buying your CDs anymore -- you can create value in a new arena. That's why Prince gave away millions of copies of his latest CD, because the real money for him was in concert tickets. It's why Beyoncé and Gwen Stefani have launched clothing lines and the fragrance industry is chock-full of perfumes from Britney Spears and Jennifer Lopez.

"Successful pop artists represent something to people, so their value is in loaning their persona, their music or their likeness to other marketers," says Ken Hertz, a veteran music industry attorney who represents Beyoncé and the Black Eyed Peas and does strategic marketing with such companies as Hasbro and McDonald's. "That's where the new equity lies. Music is the best way for a marketer to build trust with people. And if you trust them, you're going to buy their product, but the real engine for creating trust is the music."

That's not to say that screenwriters will strike it rich endorsing Dell computers (although "Daily Show" contributor John Hodgman will surely make more money for his appearances in those Mac vs. PC ads than writing books like "The Areas of My Expertise," a hilarious almanac of utterly unreliable information). My point being: No one knows where the real value of writing will come from five years from now. It may still be in residuals from TV and films, but it may be from some new YouTube-style Internet buzz site fueled by outside money from Wall Street or Silicon Valley.

While the WGA and the studios flail away at the negotiating table, snarling at each other like the warrior ice bears in "The Golden Compass," new entrepreneurs from Wall Street and Silicon Valley are entering the fray every day. The studios have been buying up or trying to co-opt many of the new entertainment streams, but the writers have a lot to say about the future, since the Internet is a medium where the word has retained tremendous power.

"We're entering an era where, just as there are 300 cable and satellite TV stations, there will be 300 different economic models for different kinds of entertainment," says veteran film producer Michael Shamberg. "There will always be a primal need for people to tell stories, but no one knows what the price structure for those narratives will be. It's a time of extraordinary experimentation of how to sell things, therefore it's an extraordinary time in terms of what you can sell."

So the writers can count on one key advantage. Even when it's difficult to agree on the value of almost anything, it's not hard to understand that in a business of storytelling, everything starts with the storyteller.

Minggu, 02 Desember 2007

Can You Crank It? Soulja Boy Calls On The UK

image Soulja Boy

Fans are invited to upload videos of themselves 'Cranking da Soulja Boy'.

The best, chosen by Soulja Boy himself, will get to meet (and maybe dance with) the US hip hop sensation at his UK shows in early 2008.

The Official UK Crank That Competition was this week launched at: http://uk.youtube.com/crankthatuk

The release of Soulja Boy's "Crank That", has been moved forward a week to 10 December 2007, due to public demand.

The single entered the top 20 this week on downloads alone and is rated 5-1 by Ladbrokes for the Xmas no.1.