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A blog for musicians and music industry people. It is a free educational resource and it is also the way I advertise my music consulting services. I am an entertainment professional with deep roots in the music industry. Throughout my music career I have been a major label A&R representative, a music supervisor, an artist manager, a reality show producer, a bass player and the head of a digital record label.
Posts Tagged 'music business advice'
Music Marketing Questions
I had the opportunity to sit down with a gifted Music marketing executive named Marc Schapiro recently to discuss how new bands should be focusing their marketing efforts. Marc has had a very colorful career working at labels like Mute, Roadrunner, Ferret and Artemis and recently left to start his own marketing company called Branch Marketing collective. During his career he has worked with artists ranging from Prodigy to Steve Earl To Nickelback. Marc is a highly sought after freelance marketing executive / product manager in the world of hard rock and was kind enough to take the time to discuss his craft with me recently.
Music Coaching:
Marc, first of all thanks for taking the time to answer some questions. It is rare most musicians get access to a marketing executive with the degree of experience that you have. Music marketing can cover a wide range of tasks, can you explain what you consider to be your role when working with a band?
I have a couple roles when it comes to marketing depending on how I'm working with the band. One of my main concentrations is with "partnership" and "sponsorship" marketing. So basically it is figuring out the band's demographic and then finding partners for promotions around the record, tour, etc. Once we find the right strategic partners, my role gets a bit more creative in coming up with the actual promotions themselves. Starting with things as basic as logo placements or contests, all the way to the more "experiential" things that involve interaction with the band. Experiential marketing is definitely one of the most important things you can do since that is how a lot of "word of mouth" is spread and it gives fans a more personal connection with the band.
Music Coaching:
What are some must have marketing techniques that every band must have that don't cost very much?
The obvious answer here is the Internet. I'm beating a dead horse, but if a band doesn't have an updated MySpace, Facebook, Twitter and YouTube page, then they might as well not even try to tour or release a record.
Music Coaching:
How do you determine who is the right audience for a band or artist?
If I knew the exact answer to this, I'd be a millionaire! What bands don't realize is that they have so much data at their fingertips. They just need to know how to use it. You can look at your merch sales when opening for certain bands or headlining. You have SoundScan. You have websites like ReverbNation that give you data on your fan base. And if you are running your own site, you need to install Google Analytics (free) which gives you so much information on where people are finding out about you, as well as where they are from.
Besides all the analytical things about the band itself, when finding the right partner, you need to make sure their audience links up. Just because your band is selling a lot at Hot Topic doesn't mean you should partner up with a hair gel company. The is a term "psychographics" which is like demographics, but its more about the person's lifestyle. Where do they shop, what do they drink, how often do they go out. I know this all sounds very calculated and more like a college class in statistics, but really it's just talking about all these things and the next thing you know, you'll know you fans better than ever.
Music Coaching:
How important is it in your mind that a band have their own website in addition to profiles on the key social networks and why?
You definitely still need to have some site outside of the social networking worlds. You never know how young or old your fans might be. They might not be on MySpace or Facebook. They might have firewalls at work where they can't get this information. When you do your own website, you should make sure your news is on an RSS Feed so people can get updates right into their email inbox if they have problems getting on certain sites while at work or school.
Music Coaching:
I know you work a great deal with branded tours and music and brand partnerships – is this something that you recommend for artists that are just starting out and if so, how?
Everyone saw the article that companies are going to spend over 1 BILLION dollars on music venues and festivals this year. So of course everyone wants a piece of it. If you are a new band, don't expect to get a sponsorship until you have toured and have a record out. There are obviously cases where you might get lucky because you have a friend at a company that will help you out but you need to form your OWN BRAND as a band first. Down the line you can partner with others and form mutually beneficial relationships.
Music Coaching:
As a guy in hard rock you work with bands who spend a great deal of time on the road- is there any advice you would have from a marketing perspective on what a developing artists with limited means could do to market their touring efforts?
Yeah, in the hard rock world, we all know that touring is the most important thing you can do. Chances are you aren't getting on TV or the radio, so the best way to connect with your fans is by putting your stuff in storage and hopping in the van. What if you can't afford to do this? Well, play local shows. Video tape them. Put them online for the world to see. Also these days, everyone wants limited edition and exclusive items. Look on EBay after ComicCon and you'll see things going for crazy prices. So, do the same. Make limited edition 7″s and t-shirts. Things people can't download.
After your show, sit with your fans and sell these items to them directly. Don't go drinking in your dressing room. I know some bands might want to keep their aura "mysterious" and be the next Tool. But you have a .005% chance of being the next Tool, so go out and meet EVERY fan you can.
Music Coaching:
Talent aside – how do you go about separating your artists from the pack both on social networks and online in general?
Be creative. You are going to have fans that are in college and do computer programming. Reach out to them and brainstorm, because they will come to you with some of the most creative ideas since they are outside the industry. Having your fans be part of the creation of your marketing will make them feel even more connected and you'll have them for a lifetime. And not to sound like a jilted industry guy, but put out f**king good quality music. If you are a new band, don't put your demo on your MySpace, don't put up a crap video. There are SO many bands out there that you really only have one chance at a first impression these days. If this means delaying the launch of your site, delay it. Music is the most important part of, well, being a band.
Music Coaching:
In your experience, how important is it to a band's success that they keep a mailing list and actively communicate with their fans?
Everything I've said above is about a band focusing on being interactive with their fans. Obviously you don't need to email them every day with what you had for breakfast, but if you send them announcements first via email (before they read it on the web), then they are going to feel even more special and will probably spread the news even faster.
If you are looking for music marketing help, I highly recommend you check out Marc Schapiro and his Company Branch Marketing Collective On an Unrelated note if you are looking for a great New York Bourbon Bar - check out Mark's new Bar Idle Hands on the lower east side
What is next for Myspace Music?
Frank Hajdu, VP Business Development, Myspace Music
I recently sat down with Frank Hajdu, an old colleague of mine from the Elektra Records A&R team and now the VP of Business Development for MySpace Music. As a founding member of the MySpace Music team, Frank offered an inside look at the past, present, and future of MySpace's core content platform.
Musician Coaching:
Give me the quick elevator pitch on what Myspace Music is all about and how it came to be.
From its inception, MySpace was always a promotional haven for artists of all types – musicians, filmmakers, comedians, fashionistas – you name it. Over time, music became more of a focal point within MySpace, as it started to gain quite a bit of traction with unsigned, indie, and major label artists. Before long, it became an integral part of the marketing plan for virtually any artist, big or small. But despite its efficacy as a promotional platform, artists began to clamor for a means of monetizing their MySpace content in the face of a recorded music industry in rapid decline. Wanting to better serve its artist community, there was a major push from within MySpace to figure out how to do just that – we had the traffic, but now it was a matter of converting those eyeballs into monetization opportunities and allowing artists, to the greatest extent possible, to run their respective businesses via their MySpace profiles.
We became laser-focused on how to achieve that end goal, and the MySpace Music business and product architecture began to take shape. Artists were already uploading promotional content and users were becoming accustomed to a great breadth of streamable audio and video, and we wanted to create an ad-supported environment where artists could actually make money from this streaming activity. In addition, we wanted to create appropriate up-sell opportunities for artists' digital and physical goods, including digital downloads, albums, and ringtones, as well as artist's high-margin items such as tickets and merchandise. We ultimately envisioned a music marketplace within our environment allowing users to not just consume, but also purchase and take portable virtually all of the content that they were finding on the site. We certainly recognized – and still recognize – the magnitude and complexity of creating a scalable one-stop shop. I'm proud to say we've made great strides in this regard, but certainly acknowledge that there's still a ways to go.
The official launch of the MySpace Music joint venture took place on September 25, 2008, and it's been an iterative process ever since. It was and still is a very, very grand ambition to be able to satiate all artists' needs as far as creating ancillary revenue streams to all relevant content and physical wares, but we're doing it steadily. We've licensed and currently monetize several million audio tracks and videos from major, indie, and unsigned artists. We're also up-selling digital and physical goods by way of our partnerships with iTunes, Amazon, Ticketmaster, Live Nation, and Hot Topic, to name a few.
Musician Coaching:
I know you're one of the original founders of MySpace Music, but what is your role there?
As Vice President of Business Development, I'm responsible for a fairly wide scope of partnerships and internal development. The structuring of commercial relationships with external partners is core to my job, whether that's content licensing, technology partnerships, e-commerce partnerships, M&A – the list goes on. But aside from the transactional, if MySpace Music is contemplating an entirely new line of business, my team handles a great deal of the strategy and analysis that dictates our decision to make a category entrance. Finally, there's the internal business development piece, where we look to formulate (or reformulate) strategy and operations within. To be candid, there are very few gold standards and rules of thumb in the business of digital media, so we are constantly monitoring and re-tooling our systems to improve the efficiency and profitability of the operation.
Musician Coaching:
Is it too much of a gross over-simplification of your role to state that you are looking for ways to help the artists make money both from their recorded and external streams by creating things on site and partnerships with existing technologies off site?
Probably an over-simplification, yes. But if you're asking me to articulate MySpace Music's pledge to the artist community, monetization is really only one part of it. At the end of the day, for many established artists and labels, it often comes down to "Where's my check?" — we get that. At the same time, what's really interesting – though obvious in retrospect — is that when you talk to unsigned artists, it's exposure, not money, which they consistently mention first and foremost. I'm blown away on a daily basis at just how business-savvy and self-sufficient artists are becoming in their day-to-day business affairs and marketing. I'm seeing a deepening maturity and patience, especially in unsigned artists, who are far more keen to first build a relevant audience, with the understanding that the money will ultimately be the by-product of that. So when you ask, "Is MySpace Music trying to build an ecosystem for artists to make money?" Sure, but it's more than that. It's, "How do we help break artists — at any level – such that they'll prosper both inside and outside of MySpace, period?"
Musician Coaching:
So part of your job is to facilitate the tools that help the growth and monetization of artists' revenue streams. Are these tools available to the unsigned artist yet?
The end goal is that every single artist, signed or otherwise, has access to every promotional and monetization tool. Obviously the promotional tools are available across the board, as are the data retrieval tools such as the freshly-launched Artist Dashboard. As far as monetization tools go, we're working in earnest to create scalable platforms to allow all artists to participate across all business lines. Suffice it to say, it gets very, very complicated, mainly because we rarely handle sales fulfillment in-house and for certain business lines like ticketing and merchandise, the pool of vendors is hugely fragmented. But artists have always been able to market their wares via affiliate linkage from their profiles, and we've recently inked soon-to-be-announced deals with pay-to-play aggregators to help solve for the digital distribution bottleneck. Artists will be able to sign up with said aggregators and present their digital content available for sale through MySpace media players by way of our e-commerce relationships.
Musician Coaching:
From your vantage point, what can you say the real marketing push on MySpace (for an artist) is like? How has it changed?
There are more stories than I can count of artists like Sean Kingston or Asher Roth who wound up meeting their managers, producers, or label reps by reaching out via MySpace. And while artists still do their fair share of mass communication, they're consistently using MySpace to reach out to potential colleagues and new fans on a one-to-one basis with much more meaningful and personalized messaging. The smartest ones realize that the quality of connections, at least in the earlygoing, is more important than the quantity, and so they take the time to identify users with tastes similar to that of their content. They then reach out directly to explain why said users might be interested in their music. It's less of a general, "Hey, check me out!", and instead more of a, "I noticed you like artists X, Y, and Z, and my music is in a similar vein. If you have a second, have a listen." Those are really important friend requests, as the recipient is far more likely to explore the music if there's a thoughtful basis for the recommendation.
Musician Coaching:
Are there areas in an artist's life that you think are at the moment underserved and will be better served by what's coming?
One of the most recurrent themes in the feedback we get from artists is that it's difficult having to maintain an online presence in so many different places. Currently, the average artist maintains profiles on anywhere from 3-10 websites …
Musician Coaching:
I call it being in the phone book. The problem with the internet is that there are about 7,000 phone books.
Absolutely. For the artist, it's exhausting. We feel that the concept of posting once and publishing everywhere is absolutely crucial for the artists of today. The concept is starting to proliferate, though most implementations I've seen are still a bit clunky and have yet to be headquartered in one simple, consolidated place. We're going to get there. In the meantime, my advice to artists is not to get too overwhelmed with maintaining a presence on every site imaginable. Focus on the 2-3 most significant sites and go deep. I'd argue that you're actually better served by having a more meaningful, dynamic, and frequently-updated presence in those places than by spreading yourself too thin.
Musician Coaching:
You're looking into solutions that would essentially let you be everywhere at once.
Yes. One great example is the recent MySpace–Twitter implementation. Updating your MySpace status immediately posts to Twitter and vice versa. This is certainly not the first such implementation we've seen, but it's that kind of thinking that will prove incredibly valuable artists. It could be as simple as updating all your information in one place and completing the checkboxes for your syndication destinations.
Musician Coaching:
Any advice for artists to effectively use MySpace?
Keep it simple. Artists often have a tendency to take the customizable canvas of MySpace and turn it into something very visually loud. Sometimes this works, often it doesn't. Implementations range from gorgeous and elegant to discombobulated and seizure-inducing. One of the reasons that platforms like MySpace can work so well for marketing artists is that generally speaking, the profiles follow a template. One visits a MySpace profile, he knows where the audio lives, where the video lives, the photos, the blogs, and so on – there's little to no learning curve for the visitor as he peruses each new artist profile. But when profile hosts attempt to go overboard with custom design, it can obscure the landscape, make the content less accessible, and altogether frustrate the visitor. Color and character are great – but I'd advise not to alter the skeletal landscape much. Decorate the house, but don't reposition the furniture.
Above all else, users want ease and simplicity – they don't want to relearn a web environment, which is why aggregated artist sites garner so much more traffic than artist-specific sites. This will sound ridiculously self-serving, but as a matter of pure ROI, I implore artists not to overspend time, money, or resources on their official sites. We've done the research and have seen that an artist's MySpace profile traffic is typically 5-10x that of their official websites, even in cases where the official sites are cleaner, prettier, or more technologically advanced. Aggregated sites simply yield far greater bang for the buck, so you tell me where you want to invest your time.
I'd be remiss if I didn't quickly plug MySpace's "MyAds" platform. We've been very pleasantly surprised by how much artists have been using this. While I'm not permitted to quote numbers, an extremely significant percentage of MyAds clients are artists looking to market themselves within MySpace, and they're seeing incredible returns. Even for those with meager budgets, artists can effectively target themselves at users throughout MySpace based on hundreds of demographic and psychographic dimensions. It's surpassed every expectation we had as far as how much business that's driving and how much of this business is coming from artists.
Music career advice from a veteran
Artist / Executive Interview: July 09' Alex Lasarenko
Recently I had the pleasure of sitting down with a friend and client of mine Alex Lasarenko. Alex has been making his living at writing and recording music for over twenty years and now runs his own studio making music for commercials, film and TV. You may or may not have heard of Alex but you have heard his music as it has been featured in dozens of films and national TV commercials. I thought I would sit down and ask him a bit about how he built his business and started making a living in music.
I met Alex in his studio Tonal in the West 20s… I sat down and started the tape recorder just after explaining what my artist coaching service was about and that I was looking for him to offer helpful advice to the struggling musician. Without having really started the interview he said:
Alex: "you have to believe that what you are doing is the right thing to do. Because there will be a ton of people telling you what you do is just shit… It really is a rollercoaster ride…which is a problem if you don't like rollercoasters"
Music Coaching Question: So I guess bring me back to the beginning to how your career in music started…
Alex: Well I'm from Ohio from a family of working class immigrants so there was nothing in my background that suggested that moving to New York was the right thing to do. I was getting a degree in piano performance. There was nothing in my cards that said I should move to New York and start a band.
Music Coaching Question: But that's what you did?
Alex: Yes I moved to New York and started off paying keys and writing all the music with a partner Chris Ocasek who would write all the lyrics. We started in a band around age 21 and got signed to EMI / Manhattan records by Bruce Lundevall. Bruce was probably the nicest gentleman and a great first person to meet in the music business. It was an excellent experience. Someone must have thought something of what we were writing. I think it was partly that and partly that EMI was looking to exploit Chris' lineage (Chris is Rick Ocasek's son).
Music Coaching Question: What did you guys do up until the point of getting signed?
Alex: We were always writing music and playing out locally. Since I was classically trained and Chris wasn't it was an interesting combination. Performing live was never my favorite I used to get very nervous or sick.
Music Coaching Question: So Touring musician was never your first pick of careers?
Alex: No, and the band was never set up to be like that it anyway, it was more like a studio project. The label wound up trying to take away what the band was and wound up trying to promote the record we made as the Chris Ocasek project. I wound up suing the label. So very early on I learned how to stand up for myself. I wound up winning and got the courts to prevent the record from being released as something that it wasn't.
Music Coaching Question: Wow, I didn't realize that.
Alex: It was an interesting experience that uh…you can be this kind of flakey creative artist but it is the business of art and the art of business…the two are intertwined no matter what you think, whether you like it or not.
Music Coaching Question: So you were in your early 20s and you were signed for a year or a year and a half and I am guessing the lawsuit ended that?
Alex: Yea
Music Coaching Question: And the left you with a degree in Piano Performance and living in New York.
Alex: Yes, the producer of the record that Chris and I made was Jonathan Elias and he got so sick of the whole label's behavior he left so I wound up doing the whole record myself with an engineer
Music Coaching Question: Was that your first time behind the board?
Alex: Yes – Jonathan left to do a Duran Duran record after the problems started to surface with the label and I wound up producing the EMI record myself. You know, sometimes you get thrown into the deep end of the pool and you either sink or you swim. I always knew what I wanted to do musically, that came naturally so it was easy for me to get it done. When the lawsuit happened I wound up broke and I had a half an onion and I would literally sit in the lobby at Elias studios twelve hours a day waiting on their client meetings to be done so I could go in an eat something that was left over- that was how I ate for 4-5 months
Music Coaching Question: So tell me about Elias studios-
Alex: Elias was a large commercial music house, at that time it was on its way down as Jonathan has lost some interest in it. Jonathan's brother told me if I was going to sit there all day I might as well write something so I did and it wound up winning some business for the studio. I wound up writing several pieces of music that won business for the studio and after six months they made him the creative director of the company.
Music Coaching Question: From Eating leftover food in the conference room to creative director in six months, not bad…
Alex: (laughs) yea it was $25,000 a year. For me, that was Huge! It was amazing I could afford socks; I could afford to eat and get a shared apartment. And I just worked my ass off…
Music Coaching Question: So for you it was your songwriting and the production and engineering skills you picked up along the way?
Alex: Yep, working on and producing commercials was a great lesson because I would do that from 9:30 in the morning until nine at night and then I would work on an album until early in the morning.
Music Coaching Question: Did you ever have any thoughts of going back to band life?
Alex: No after the lawsuit it was kind of over…but it was a great experience to learn that you can't let people take advantage of you. And every time I have let me guard down or didn't go with my gut instinct on that I have gotten burned.
Music Coaching Question: Gothca. So one of the reasons I wanted to interview you Alex is one of the questions I get most often doing what I do is "can you get my music into film and TV and video games?" Now you are someone who makes you living on creating custom pieces of music for those kinds of things. Do you have any advice for people on how to get their music placed in those kinds of situations?
Alex: Well it's a different kind of a business (creating custom music vs. licensing tracks off of an existing album)…Making an album is a full time job, marketing it is a full time job…and it's usually a thankless and unappreciated job…but I think it would be hard I don't know what to tell you if you have one album's worth of material…. Most people respond better to a body of work unless you have a hit- that makes it easier. When we license music it is because we have a library of material to choose from…
Music Coaching Question: Does having more material help do you think?
Alex: … I think content is king. If you have great success with a band and get traction then whoever you are working with will be able to get it in front of music supervisors…if you ant a long term relationship with music in movies and TV then you have to meet and talk to as many music supervisors you can and get to know them and what kind of music they use…I'll talk to anyone, it's interesting what you can learn when you are willing to talk to anybody.
Music Coaching Question: How did you cope with the jaded attitudes you likely encountered when meeting music supervisors as a composer just getting in to the business? Is there any advice you can give about getting heard by these people?
Alex: I made a decision that I was going to devote five years to scoring a movie. What I had to do was create music that was worth being in a movie. I think that nobody would take me seriously unless I had music that they could hear visually – music that they could see being part of their project. Our studio tends to score entire films rather than just portions of films, which is rare. What I have noticed that music supervisors tend to work within a certain budget. Some do 25-50 million dollar budget films
Music Coaching Question: Of course the music budgets for those films is considerably less…
Alex: Oh, considerably less…and then there are other music supervisors that do 1-10 million dollar films. I've noticed that when these music supervisors step up into the next category up they tend not to return your calls (laughs)…I guess their feeling is that they are now at a higher level…
When it comes to licensing and music supervisors I think that anytime that you can talk to somebody and get your music in front of them I mean what's the worst thing that could happen- they say no? I mean you are going to hear no a lot in this business… And you have to be dumb enough to believe that they are wrong (when they say no)…I know that sounds stupid but when someone says no you have to believe that they are wrong and you are right.
Music Coaching Question: I am sure that you know a ton of people who you came up with and played with who are no longer in the business- they either heard no too many times or couldn't hack it and got straight gigs…
Alex: Well some of them actually went on to be pretty big too…
Music Coaching Question: Sure…but from what you have seen from those who made it who have either continued to make a living at music or have gone on to be hugely successful is there a defining quality that leads to that enduring success?
Alex: I never chased the glamorous portions of the business so it was easier for me to stay in the business…but the people I know who fell away were not able to adapt they were unable to move past their niche. I know a woman who was one of the best oboe players in the world in my opinion and she no longer plays, she takes botanical photographs now.
Music Coaching Question: So the ability to adapt…?
Alex: If you are the best oboe player in the world and all of a sudden there are 3,000 plugins with great oboe sounds that don't require a real person to come in for a session then…you're in trouble. Ten years ago I used to file 300 AFM contracts per year. Last year we did two… I've had to adapt to, you have to make do what you have these days.
Music Coaching Question: Any other advice…
Alex: Well, while I everyone was out doing coke in the 80s I was in the studio doing work during the day and making time for my own songwriting at night…it's a lot of work to make a living this way… You can always write music on your own but if you want it to blossom into something epic or beautiful or cinematic you have to keep the hamster wheel going… I would get Pneumonia and I would still go to work, work has to get done…
Music Coaching Question: How did you know you were doing the right thing?
Alex: The best thing that happened to me was a corporate coach came into Elias and asked me with no one else around – "what do you want?"… I gave him the corporate line but he asked again- no – "what do you want"…. What I wanted was to win an academy award for bet original score… all this shit fell away when I realized what I wanted.
Music Coaching Question: you are lucky that your day job supports you in your goal
Alex: absolutely…you know someone is always throwing shit at you but you have to always believe that what you are doing is worthwhile…
Music Coaching Question: Your skill that kept you in the game has been your songwriting and applying that to corporate needs- how did some of your peers use their skills to stay in the game, was it session work or waiting tables or…?
Alex: Yes, Session work, people that do custom studio work like I do… I mean everyone is having trouble but…I don't really know, I do know some great players. We all have to do the odd job here and there. The motto at tonal is we will talk to anyone, we will do anything…
Music Coaching Question: Do you get calls for sound a-likes?
Alex: no, we don't much anymore, rates have come down most people can afford the originals…you also have tons of small studios looking to break in who will work for free.
Music Coaching Question: would you warn someone against doing tracks for free?
Alex: My feeling is if you are doing music for free, what do you think of yourself? It's a business, we provide a service. This whole notion that you have to demo for free for an online free when agencies are still charging their clients a lot of money. People often ask me "should I do this track for free?" and I always say – "do you think you are worth nothing?"
Music Coaching Question: Enough said about that…
Alex: it's a nerve wracking moment in business right now…everyone is walking around like a zombie…in the end if you believe what you are writing is great it doesn't matter what anyone thinks
Music Coaching Question: One final question- Would you do anything different?
Alex: No, no regrets.
You can check out Alex's work @ http://www.tonalsound.com
Cautionary Tale
This is a 20/20 piece that ran some time last year about OMC (the one hit wonder who gave you "how bizarre") front man Paulie Fuemana. It's pretty amazing how you can make five million on a song one year and be broke the next.
Music Industry event – Soundctrl
I was invited down to the Sound Control event last night at S.O.B's by a friend (Ariel Hyatt – press tycoon) and saw lots of interesting people from my past. There were several folks I had met while an A&R guy, mostly music managers and record company people. I'm kind of shocked that more of them don't show up at events like this but I digress…
The panel was called Artists Disruptors and featured Chrisette Michele, Toby Lightman, Rik Cordero and was Moderated by Daniel Weisman from Elitaste. I was most familiar with Toby Lightman as she was signed to Lava just as I was leaving there for Elektra records but it turned out I had seen many of the videos that Cordero had made and as near as I can tell (I can't hold a camera to save my life) he's quite talented. The panel started with just Lightman and Cordero being asked questions about what tools they used online and what it was like being a modern artist.
I was better able to hear Toby Lightman – and from her I heard the familiar tale of how being on a major was limiting. She described (accurately from my experiences) the frustration of being tied to promoting only the latest single and not being able to do creative projects out of the scope of the genre that she felt confined to by Atlantic. Since being dropped Lightman has had success with music licensing and even turned around an independent album in three weeks when a last minute offer to be on the home shopping network occurred. She made a point of saying that while tethered to a major she would have never been able to make such a tight deadline.
I understood her feelings completely I had watched the eyes of artists signed to the labels I worked for go from shining with childlike glee to the dull eyes of an animal in a cage that have learned only that it is has no control over it's destiny. Okay…enough melodrama. Christ, sometimes I make myself sick… The point being there is a lesson in all of this and it isn't as black and white as major labels suck, be independent (as described we have flogged that dead horse long enough.)
The lesson in my mind is simply "don't wait." I watched dozens of artists get signed and undergo the remarkable transformation I began to call the shiny shirt phenomenon. It used to go like this:
1) Band starts making noise locally and / or regionally. Doing great work, directly in touch with the fans, they have self released an album that people are buying, more importantly ticket sales and merch are almost getting these guys to make a living provided they live like college students. They even start getting some support from a local radio station and / or some decent press. The band or artist finally gets the attention of a "real" manager, agent or label…life is good!
2) Band signs with label and appropriately celebrates for several weeks. Best case scenario they pay off their credit cards with the advance and hopefully have enough to put some aside for the proverbial rainy day or better yet they establish a fund for future band projects. Worst case scenario they arrive at their next meeting with their label partners in a new sports car. Artist and label formulate a plan – perhaps re-recording their record, re-writing their bio, helping them find new strategic partners. Publicity department looks over the artist or band and if they are just kind of average looking folks they get new rock n' roll by numbers haircuts and their flannel button down shirt is replaced by a shiny button down shirt that is a bit too form fitting to make anyone but a CK underwear model feel comfortable.
3) Artist stops doing all of the things that made them a local and / or regional success and stares blankly at label partners with hopeful eyes. Label purchases an opening slot for the band on a huge tour where they are the first of four to go on and they play to significantly less people then they would have on their own regionally. Tour support is spent with reckless abandon lessening the artist's chance to ever recoup. The single goes to radio and misses.
4) Band is back to where they started having destroyed the momentum they had built with a local album release. They have diminished their local or regional roots by trying to break new markets and neglecting their existing fanbase. Their shows aren't as well populated as they were before this process and they begin to feel as if there is the stink of major label failure on them or they are "washed up" or "has beens" or "no hit wonders". Odds were about 50/50 the band breaks up or artist gives up completely and gets a 9-5.
5) Artist tucks old band press photo and new band press photo into a drawer they will rarely open and cover it up with a shiny shirt that never really fit their person or personality.
I am SURE…well…I HOPE it has gotten better than this and labels have adapted but this truly was a common phenomenon as recently as five years ago. If there is an upside to the 360 deal it is that labels are now acquiring bands like major corporations buy smaller corporations and they now have a vested interested in all of the artist's revenue streams… I somehow doubt they would still make these mistakes again…
The take away from all of this and the lesson, if there is one, is that you never stop remembering that you serve your community of fans and you should never take your eyes of of your goals. The goal for most of us is to make a living doing something we love. Don't let the sex appeal of the big deal (of any kind) deter you from building your living one fan at a time.
Would love to hear your stories. Email or call.
P.S. – there was more to SoundCntrl than this…they seem to be an interesting music and technology community building organization.
New music Seminar – Thoughts and Observations
I just got back home from the New Music Seminar which was held today Tuesday, July 21st at one of the NYU buildings just south of Washington Square Park. The last time I had stood on that spot I was watching Elliot Smith perform at the building that preceded the one I stood in today- at the time it was called the Loeb Student center. It was also at the Loeb student center that I attended my first music conference as a musician trying to get my band signed or be a famous musician or whatever unrealistic albeit wonderful thoughts danced around my marijuana soaked head in those days. I guess it was fifteen years ago, and it was NYU's "Independent Music Festival" 1994 that I tried to get my band noticed with a cassette of three of songs from my band. I got the only advice that ever really resonated with me as a musician that day, just six words: "play out as much as possible."
The band broke up, I got an internship at a big record label that became an assistant job and so on until a few years later I became a jaded A&R executive who had spoken dozens on panels and had done my best to answer the same old questions that I had asked when on the other side of the panel.
It was wild to be back in the audience after having been on both sides of the stage and now somewhat removed from the emotional attachment of clearly belonging to either the artist or the executive side. (I still play for kicks and on the other side- I don't quite consider myself an executive in the same way I did when I was a label guy).
I stayed for the keynote speech by Courtney Holt (President of MySpace Music), a panel called "Welcome to the New Music Business: Everything You Know is wrong" which featured Ian Rogers, Matthieu Drouin, Mark Ghuneim, Bruce Houghton & Jeff Price and a second panel called "Fan relationship management: Quit your day Job" which featured Tom Silverman, Steve Greenberg, Terry McBride, Ted Cohen, Tim Westergren & Emily White.
This is not an insult to the New Music Seminar- I am very glad I went but it's funny how the company names had changed, most companies were now followed by ".com" or "music" rather than "records" and it is now thankfully much more acceptable to say "I don't know" rather than slinging some incredible amount of bullshit. It does seem however, as if the music conference is much as it was fifteen years ago. There is a big disconnect between the panels and the audience. In my opinion people who come to panels desperately want very tangible solutions to very real problems about the basics of building their business rather than abstract conversations about the problems of artists who are several rungs higher than they are on the food chain. Granted I missed the "your live show and tour" panel which featured many successful artists who had done it themselves – I'm told it was great. It just never ceases to amaze me how the majority of music business professionals can't articulate anything about the process by which an artist builds their business on their own so that they are even worth the attention of those same professionals.
I am off and running now but I am going to do my best to provide as much information as I can that worked for me building a local following when I was playing regular shows. Sure, I was armed with cassettes and only got my first email account in 1994 but some of the principals are still the same.
PS – We can all stop flogging the dead and decomposing horse that is the major record label – we get it already.


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Healthy Origins Razberi-K Raspberry Ketones are the perfect addition to your diet and exercise program. A raspberry ketone is a natural phenolic compound which is responsible for a raspberry's wonderful aroma. Raspberry ketones have been used for decades in the natural flavor and aromatic industry. However, due to the excessive cost, limited supply and low yields, raspberry ketones were never studied for any other application......until recently. Scientists have now found a way to make a high purity, reasonably priced raspberry ketone. This enables people to ingest the proper amount of raspberry ketones for their body weight without spending a fortune on the product.
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Washington, D.C., April 2, 2012 – The American Public Health Association kicks
off National Public Health Week 2012 today to celebrate the remarkable accomplishments
in protecting and improving our nation's health and raise awareness about
important health issues facing communities across the country.
Through this year's
theme, "A Healthier America Begins Today," NPHW 2012 will focus on a holistic
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unintentional injuries. The National Prevention Strategy, the first-ever comprehensive
plan developed by a wide array of federal agencies and national experts to
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This national observance
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public health community on issues that are vital to creating a healthier,
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"With nearly 1 million
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preventive changes and community initiatives can make a big difference in
living healthier lives," said Georges C. Benjamin, MD, FACP, FACEP (E),
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celebrate the extraordinary achievements of the public health community and recognize that each and
every one of us has a role to play in improving the health of ourselves, our
families and our communities."
U.S. Sen. Jeff Merkley
(D-Ore.) and Rep. Lucille Roybal-Allard (D-Calif.) introduced resolutions in
Congress recognizing National Public Health Week and the critical role public
health can play in preventing premature disability and death.
Beginning today and
throughout NPHW, April 2-8, APHA and hundreds of partners in communities across
the country are urging all Americans to take small steps toward preventing disease
and injuries, and keeping themselves and their families safe.
Daily themes focus on key
priorities outlined in the National Prevention Strategy:
For more
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Founded in 1872, the APHA is the oldest and most diverse organization of public health professionals in the world. The association aims to protect all Americans and their communities from preventable, serious health threats and strives to assure community-based health promotion and disease prevention activities and preventive health services are universally accessible in the United States. APHA represents a broad array of health providers, educators, environmentalists, policy-makers and health officials at all levels working both within and outside governmental organizations and educational institutions. More information is available at www.apha.org.
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GPU X windows
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So... is anyone working on an accelerated version of X? A mesa type driver for 3d to use the GPU? An accelerated version of SDL (is that possible?)
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Locking. Linked topic covers it.
Unemployed software engineer currently specialising in camera drivers and frameworks, but can put mind to most embedded tasks. Got a job in N.Cambridge or surroundings? I'm interested!
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Her recovery trajectory sounds fairly similar to one of our former mods, Catherine - who was in ICU for 10 days IIRC, with multiple transfusions and dialysis before her kidneys kicked back on. It can be tricky to balance the effects magnesium sulfate that is often administered to lower risk of seizure with the low kidney output, but if that is the case things do tend to stabilize and the docs are quite familiar with the issue.
I hope she continues to trend better. This is always such a rough landing for mother and baby - I am glad she has your support.


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Upstate News
May 24, 2000
Darryl Geddes 315 464-4828
Darryl Geddes 315 464-4828
Genetic breakthroughs and preventing medical errors through technology will be examined at Fourth Annual Healthcare Marketplace June 13 and 14. CEO of Dr. Koop.com, former editor of New England Journal of Medicine and New York State Medical Society p
How technology can be used to prevent medical errors and the latest on genetic breakthroughs are among the issues to be examined at the Fourth Annual Healthcare Marketplace Conference and Expo June 13 and 14 at the OnCenter in Syracuse. The two-day conference will feature, along with dozens of exhibitors, presentations from leaders in all areas of the healthcare industry, among them the chief executive officer of drkoop.com, president of the Medical Society of the State of New York, and a former editor of the New England Journal of Medicine.
Search Upstate News
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- Special dog retires from Upstate University Hospital therapy program
WSYR TV9 Syracuse
- Upstate Cancer Center wants to increase breast cancer screenings among black women
Syracuse Post Standard
- 1 in 10 People Will Get Kidney Stones During Their Lifetime, Are You at Risk?
Capital News 9 Albany
- Puppy love: Upstate Medical students raise puppies, brighten corner of downtown
Syracuse Post Standard
- Field of Nursing Changing, Becoming More Complex with New Technologies
Capital News 9 Albany
- Upstate Medical University researcher awarded $50K grant for medical device: CNY Science
Syracuse Post Standard


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Inglourious Basterds Gallery 2
In Nazi-occupied France during World War II, a group of Jewish-American soldiers known as "The Basterds" are chosen specifically to spread fear throughout the Third Reich by scalping and brutally killing Nazis. The Basterds soon cross paths with a French-Jewish teenage girl who runs a cinema in Paris, who has her own reasons for wanting revenge on the Germans. Inglourious Basterds is written and directed by Quentin Tarantino. Check out photos…
Roll your mouse over the left and right-hand sides of the image and then click to view more pictures.
Read our review of Inglourious Basterds or our interviews with Quentin Tarantino and Diane Kruger
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Yamaha YBL-830 Xeno Series Bass TromboneIn designing the Yamaha YBL-830, Yamaha combined what they learned in creating the Xeno tenor trombones with feedback from some of the world's great bass trombonists. The result is a state-of-the-art bass trombone with all specifications redesigned by an elite team of Yamaha designers and R&D experts.The YBL-830 model includes features such as the newly designed yellow brass bell with a thinner wall for enhanced response, nickel silver slide crook for more substance to the sound, and a new rotor design which improves playability.Other design features include modified slide braces that create greater flexibility and responsiveness, new nickel-silver slide crook material that creates a more open feel, and a new rotor design that provides a smoother airflow to the second rotor assembly.Additionally, the adjustable thumb paddle provides an ergonomic grip.The YBL-830 comes with a new ABS Xeno-type case features a compact and contoured shape, with shoulder strap and side handle.
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I am a trombone student at the Lionel Hampton School of music at the University of Idaho. I have been playing trombone for eleven years and bass trombone for nearly three years. I am the bass trombonist for the Washington-Idaho symphony and cover the bass trombone spots in our school's top jazz bands. I have played the Bach 50B and the custom Getzen, rose brass, with dual axial flow valves. Playing this horn for the first time is a trip. Every partial is in tune, speaks well, and responds to as soft as you want to play, or just as loud as you can make it. The one piece bell, for me, is the perfect weight, thickness, and color and adds richness to my sound. The slide is very fast and comfortable to play on, even for four hour dance gigs. The valves, Yamaha's bigger conventional design, is surprisingly free flowing with just enough resistance to let notes speak down to a double B flat and beyond depending on your embouchure. The extra E flat or D tuning slide make the trombone more relevant for the type of literature you are playing. Excellent horn, I have grown exponentially as a musician ever since I've picked it up.
I am a masters student at the University of Toledo. I have been mostly a tuba player. I got this bass because it can play with most starting groups when teaching. I am now using it for my Polish group that I play in and I love the horn. The notes just pop when I need to play low and I have not problem playing high even as a tuba player and not playing that high most of the time. I would say if you are in the market for a bass that has great tone no need to look any farther. This one is better then any of the other basses I tried to play even Bach.
I am a professional tenor trombonist who rather recently bought this horn. Well...I now enjoy playing my bass trombone more than my tenor! The sound I produce is beautiful and rich, the horn is very responsive, the partials are very in tune, the slotting is good, and the trombone plays even in all registers. I can, with ease, even play Bolero on this bass trombone. Simply put: this is one fantastic bass trombone at a price that's better than any of the competition.
In the end, it is all relative and all horns are a personal preference, but in my opinion, why spend $1000- $2000 more for a horn that may not even be any better?? Yamaha makes superb instruments.
The only thing I want to note is that it may take a few weeks for the slide lock on the slide receiver to get broken in. For me, the slide would shift slightly after a while during playing, in where the slide would start moving closer to the bell section. This is no longer the case. Also, do not expect low C and Bs to magically pop: you still have to work on it! (Well, at least I do!)
I started looking for instrument because I will be leaving for college at the end of the summer. I started my search determined to get a Bach but soon began looking at many different instruments. One of my band directors recommended this particular instrument so I began researching it. I eventually placed my order and when it was delivered I fell in love. It plays better then the old Bach and other Yamaha "band director special" I had before. It is amazingly free blowing and had great tuning. The rotors are smooth and quick, as is the slide. It comes with the most beautiful stock case I have ever seen. The only downside i can possibly think of is the mouthpiece. Yamaha could have easily included a mouthpiece from its signature series line. I'm currently searching for a new mouthpiece.
Until very recently I considered myself a tenor trombonist; even after having played a nice rose brass Holton bass trombone for several jazz ensembles I found that I preferred the response of my Yamaha Xeno tenor. Then, after a summer of not playing bass trombone at all I found that I missed it, so I started looking for a bass that would be on par with my tenor, soon I found this horn and gave it a shot. To my surprise not only is it as good as my tenor, its better, and I absolutely love to play it at every occasion! This instrument delivers power when needed, but can perform at the most delicate sotto voce with impeccable intonation. The slide responds smoothly, the valves handle excellently, and the horn speaks perfectly in all registers (be it in the double pedal range or five octaves higher above the trumpet staff). After having played this instrument for a number of months I now gladly consider myself a bass trombonist.
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Ken Jefferson co-anchors NBC29's Sunrise and Noon newscasts.
A native of the Richmond area, Ken is happy to be back home again in central Virginia.
His work as a broadcast journalist has earned him nine regional Emmy awards, two regional Edward R. Murrow Awards, two National Headliners Awards, a national Iris Award and a host of state and local awards.
In his free time Ken enjoys outdoor photography, biking, hiking and exploring the countryside with his best friend, General Lee, his black Labrador.


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Elementeita is a small soda lake, nestled in the eastern sweep of the Great Rift Valley. The Lake is surrounded by spectacular country that played an important role in the early colonial history of Kenya.
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Keeping The Faith
Our lives are a chain of events. Who we are – our beliefs, attitudes, habits, knowledge and skills – are the result of events that shape our lives and people we have come in contact with. By that, I am referring to those whose paths have crossed ours.
I've been very fortunate in my life. God has blessed me in many ways. If you look back over your life, it's hard not to see that a higher power must be in control.
My father was the son of a sharecropper and never went to school beyond sixth grade. Yet, through hard work and determination, he became a very successful businessman. He was a great father, and the example of his life taught me the value of work and family.
In 1972, a 20-year old kid too lazy to study, flunked out of college and ended up at Fort Polk, La. This was an "attitude adjustment," and six months later, I came home a changed young man. In 1973, I married my high school sweetheart and wanted to finish school. My wife and I traveled to Georgia Southern and literally begged to be admitted. I was granted admission – on a probationary status.
In 1975, my favorite economics professor at Georgia Southern, Emmett Deal, asked if I wanted to go to the University of Georgia for a master's degree in agricultural economics. I had done well at Georgia Southern and was accepted to UGA – but again, on a probationary status.
While at UGA, Dr. Ed Brown was a big influence. He was an Extension economist and from him I developed the desire to work with farmers. I also thought about pursuing a Ph.D. My wife was reluctant (had already worked to help put me through school) but agreed with the idea.
I applied and was accepted to Purdue University (Ed Brown had also gone to Purdue). I have always wondered how a guy from Georgia who had struggled so much academically could possibly have gotten in. Perhaps a "higher power" was not through with me yet!
While at Purdue, I made two Cs – one my very first semester. After just the first assignment, the professor suggested I drop the course! But I was determined not to let this professor and these grades discourage me. My last year at Purdue in 1980, I applied for a position with the University of Kentucky. I never heard back from them. Something just told me to give them a call. I did and was invited to interview and got the job.
In 1990, I interviewed for a position with the University of Georgia. I thought I'd be a shoo-in, but the job was offered to Jerry Crews, a close friend at Auburn. We were both from Georgia and had always talked about moving back home. So, I was shocked that he turned the job down but otherwise I would not have gotten the job. Being home was a blessing. My father died just three years later.
The first person I had an opportunity to work with at UGA in cotton was Dr. Johnny Crawford. More than anyone in this profession whom I have ever met, Johnny has a real passion for both his work and farmers. He has been a major influence, and I've tried to emulate him.
Each of us is shaped by our "lifeline." For me, that lifeline is wonderful parents and in-laws who have taught me the importance of God, family and hard work; a loving and supportive wife and family; influential friends, co-workers and professors; and a chain of events that, without a doubt, has been in God's hands.
Because we often focus on the short-term, we are frustrated when things don't go our way. Only God knows the long-term and how things will ultimately turn out. He is in control. Each day God provides opportunity for our lifeline to cross paths with others. You never know what influence others will have on you or, more importantly, the influence you can be on others.
– Don Shurley, Tifton, Ga.
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2nd volume out of a 14th volume series. HC (Hennepin County) has them all, praise the good staff members. This is fir older teens (16 ). Since it has some ultumate maku-out scences.
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COLUMBIA, S.C. (AP) — Legislators are supporting plans to build a Medal of Honor museum in South Carolina.
The House and Senate presented retired Marine Maj. Gen. James E. Livingston a copy of a resolution Tuesday supporting the museum planned for the Patriots Point Naval and Maritime Museum on Charleston Harbor.
The resolution says South Carolina will be honored to have a museum to honor the recipients of the nation's highest award for valor.
About 3,460 military service members have received the medal since its creation 150 years ago.
Livingston received the Medal of Honor for his actions in Vietnam in 1968. He is from South Carolina and is on the foundation organizing the museum.
The Budget and Control Board approved a 99-year lease at $1 a year for the new museum last week.


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This 36-week MAP program provides 32 weeks of in-class training and a four-week work placement component.
Emphasis is on fundamentals of engines, fuel systems, electrical systems, gear trains, brakes steering and suspension systems and work place practices. Electronics, diagnosis and computer management systems will conclude the program. All aspects of heavy truck technology are embodied in the program.
Upon successful completion, with a 75 percent grade average, you will receive a job interview at a hiring MACK/VOLVO dealership or fleet operation, where you will complete your on-the-job apprenticeship training. This Modified Apprenticeship Program (MAP) has also partnered with world class fleets as part of the work experience to further broaden future opportunities for MACK/VOLVO MAP graduates.
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42 U.S. Code Chapter 125 - RENEWABLE ENERGY AND ENERGY EFFICIENCY TECHNOLOGY COMPETITIVENESS
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Historic Building Rehab Becomes First Us Lutheran Seminary LEED Project
The Lutheran Theological Seminary at Gettysburg announced this week that the project to rehabilitate its iconic Schmucker Hall, now housing the internationally recognized Seminary Ridge Museum, is a LEED Certified project.
LEED, or Leadership in Energy & Environmental Design, is based on a rating system developed by the U.S. Green Building Council (USGBC) and is the foremost program for buildings, homes and communities that are designed, constructed, maintained and operated for improved environmental and human health performance.
The rehabilitation of one of the most important Civil War structures in the nation and perhaps the most recognizable structure in Gettysburg is a joint venture of the Lutheran Theological Seminary at Gettysburg and its subsidiary Seminary Ridge Historic Preservation Foundation (SRHPF), and the Adams County Historical Society (ACHS) to rehabilitate and adaptively reuse the building as a state of the art museum.
This is the first LEED certified project in a Lutheran Seminary in North America, and consistent with institutional green commitments that has enabled Gettysburg Seminary to reduce its carbon footprint since it first installed geothermal heating and cooling in its chapel during a 2011 renovation project.
Architect Jennifer Line Derr, formerly with Murphy and Dittenhafer Architects, led and coordinated the LEED project. "Having led three LEED certification projects before the Schmucker Hall effort," she said, "I'm proud of them all, but definitely most proud of what this Owner's team and the historic building have accomplished."
The Seminary Ridge Museum achieved LEED certification for implementing practical and measurable strategies and solutions aimed at achieving high performance in sustainable site development and rehabilitation, water savings, energy efficiency, materials selection and indoor environmental quality. Among the most efficient energy features added to the building is the installation of a geothermal heating and cooling system employing 40 wells 450 feet deep within the shale of Seminary Ridge. The geothermal HVAC system replaces the original coal fire place based heat and a central steam heat system utilized from 1895. Water and storm water is also conserved on site in a way designed to recharge the ground water table and materials were preserved and reused on site wherever possible.
Seminary President Michael Cooper-White commented, "Even as we have sought to preserve the rich legacy of the past here on this sacred Ridge, leaders of the Seminary and Historical Society were committed to good stewardship for the future. Creating a modern "green environment" within a 180-year-old building was no small feat." The Seminary is affiliated with GreenFaith and with the Blessed Earth Seminary Stewardship Alliance, two organizations advocating for environmental efficiency and its connection to faith and faith communities.
The project created a state of the art museum that includes an interpretation of the first day of the Battle of Gettysburg, July 1, 1863 from the pivotal site of the most intense fighting; the Civil War hospital that occupied the building at Gettysburg for more than two months in 1863; and the civic, moral, social and religious issues that not only divided but also inspired our nation in the 19th century and the African American experience in a border county, the early integration and activism of antislavery voices, and other lived history of the time.
Project team members included representatives of the Gettysburg Seminary and ACHS, architects Murphy & Dittenhafer, construction management from the Whiting Turner Corporation, General Contractor Morgan Keller, Inc. and members of the Seminary Ridge Museum staff.
"We are grateful to the many partners," added Cooper-White, "including both private and public funders, who helped us achieve what many thought impossible. Our goal was to offer a gift to the nation and the world, and it has been a great privilege to open wide the doors and beckon, "Come, see, learn, be inspired—and all this in an eco-friendly environment!"
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LANSING (WKZO) -- Governor Rick Snyder has appointed Judge David Viviano of Sterling Heights to the Michigan Supreme Court.
The 41-year-old justice already has plenty of judicial experience as he is currently chief judge of the 16th Circuit and Macomb County Probate courts. He was chosen by the Michigan Supreme Court in 2008 to take part in a pilot project to reform the jury system. He also advocates technological innovations in the court system, having led the 16th Circuit Court's e-filing pilot project.
Viviano's appointment fills a vacancy created by the resignation for former Justice Diane Hathaway.


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RALEIGH, N.C. (AP/WECT) - A bill requiring voters to present photo identification to cast a ballot is headed to the North Carolina Senate after passing the House.
The Republican-controlled House approved the bill Wednesday on an 81-36 vote. Five Democrats voted with Republicans on the bill, including local Rep. Ken Waddell (D-Columbus) and Rep. William Brisson (D-Bladen). Rep. Susi Hamilton (D-New Hanover) voted against it, while all other local representatives (Catlin, Davis, Iler, Millis) voted for the bill.
"I'm sure I'll get some 'why did you vote for the Voter ID bill' questions," Waddell said in a phone interview after the vote. "But I can explain why I did it. I based it on what a majority of my constituents told me back home. Most people are sold on the idea of Voter ID, and I think you'll see an increase in voting in North Carolina."
Waddell said since the bill doesn't go into effect until 2016, there is still time to work out some of the concerns he has with the bill. Waddell said he does have a problem with the absentee voters section of the bill. He also believes the bill will be ultimately be challenged in the courts.
"I think everybody is glad the vote is over with," Waddell added. "Now we can get down to dealing with some of the fiscal issues for the people of North Carolina."
The vote followed nearly three hours of amendments and debate. Most Democratic amendments failed, but one from Rep. Charles Graham of Lumberton restored state tribal ID to the forms of ID accepted under the bill.
The bill has sharply divided Republicans and Democrats. Debate on the House floor mirrored the arguments from both sides over the past month of committee meetings and public hearings. Republicans argue the bill will protect against fraud while Democrats say there's no strong evidence that such a problem exists and the real motivation is voter suppression.
The comments on the vote fell mostly along party lines.
"This is a historic vote for North Carolina," said House Speaker Thom Tillis (R-Mecklenburg) in a statement. "This strong message of bipartisanship on such an important, and at times controversial, issue is a testament to the hard work and dedication of the House members who remained committed to this effort for many months. I commend their work, and I am encouraged by the overwhelming support this bill received today."
"We all agree that it's important to protect the integrity of our voting system, but putting up barriers that will make it harder for hundreds of thousands of eligible North Carolinians to vote is not the answer," said a statement from ACLU-NC Policy Director Sarah Preston. "We urge the Senate to reject this proposal and instead take steps to ensure that all eligible voters in our state are able to exercise their fundamental right to vote without having to face any additional obstacles."
"North Carolina families want their leaders working to create jobs, but instead Speaker Thom Tillis is focused on legislation that will make it harder for citizens to exercise their fundamental right to vote and cost taxpayers $3.6 million," said an email statement from Ben Ray, Director of Rapid Response for the North Carolina Democratic Party. "Speaker Tillis admits that this legislation isn't about fraud, which means he is simply trying to restrict access to the ballot box since he knows his extreme agenda is unacceptable to North Carolina families looking for real progress on jobs and the economy."
"North Carolinians consistently and overwhelmingly support photo ID requirements for voting," Tillis said. "This bill not only responds to the opinions of our constituents, but also provides individuals without photo ID's with an opportunity to acquire them at no cost. This common-sense measure will protect the integrity of the ballot box and restore confidence in our election system."
Click here to read the text of the bill.
Copyright 2013 WECT. Material from the Associated Press was used in this report.
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Linebacker JC Sherritt will not be in the lineup when the Edmonton Eskimos take on the Hamilton Tiger-Cats on Friday (TSN, 8:30pm et/5:30pm pt).
Sherritt, who was named the CFL's Defensive Player of the Month on Wednesday, sat out practice this week due to an injury sustained in last week's loss in Calgary.
Sherritt leads the league with 104 tackles and is averaging eight tackles per game this season. By missing Friday's game, his projected total for the year will drop to 136 tackles, which would still be good enough to break the current record of 129 set by Calvin Tiggle in 1994.
Rookie linebacker Simoni Lawrence will get the start in Sherritt's place. Lawrence has appeared in 10 games this season and has eight defensive tackles, eight special teams tackles and a fumble recovery.


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As new details emerged on the alleged gunman in the nation's capital, CBS Atlanta spoke with a criminal profiler in Georgia.
Dr. Dave Davis delved into the mind of a mass shooter and explained what would motivate someone to commit such a cruel act.
Davis, a forensic psychiatrist and the medical director of Piedmont Hospital's Psychiatric Clinic, said the gunman may have been angry with the government, society in general or someone in particular.
In any case, Davis said, the gunman likely felt his anger outweighed the rights of others.
Police said Aaron Alexis, who they have identified as the gunman in the Navy Yard shootings that left 13 people dead, including himself, had a history of violence.
In 2010, Alexis fired a shot into the ceiling of his apartment in Texas, which he claimed was an accident, police said.
In 2004, Alexis shot out the tires of a construction worker because the man made fun of him, police said.
Davis said a man who would react so quickly and so violently is an intensely self-centered person, bursting with rage.
"They're angry and they're going to act it out. They come apart. They sit on the anger for a long time, then they explode," Davis said.
It is not clear why the gunman opened fire.
Police are investigating whether the trigger man worked with another man.
Davis said they may suffer from personality disorders, rigid, unhealthy ways of thinking and behaving that prevent them from relating to people in a normal way.
"The person thinks their grievances are better than anybody else's, they're more important. They're going to do something. They're going to change the world," Davis said.
Copyright 2013 WGCL-TV (Meredith Corporation). All rights reserved.


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i wear a size 32 in levi's so would a size 32 in these be the same?
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JerShon Cobb hit a running pull-up in the lane with 2.3 seconds left to give Northwestern a 63-61 comeback victory over IUPUI Friday night.
Northwestern took a 59-55 lead with 2:29 left on three Sobolewski free throws, but IUPUI rallied and tied the score on a pair of Patton free throws with 20 seconds left, setting the stage for Cobb's heroics. Cobb got the ball on the left wing and drove to the lane just inside the foul line before pulling up for the shot. The ball bounced off the rim and backboard before dropping through.
Cobb finished with eight points on 4-for-13 shooting. Drew Crawford led Northwestern (3-2) with 12 points, all in the second half and Dave Sobolewski added 10.
The Wildcats trailed by 11 points midway through the second half before rallying.
Ian Chiles led IUPUI (1-4) with a game-high 19 points and Mitch Patton had 18.
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"Those who cannot remember the past are condemned to repeat it," the philosopher George Santayana once remarked.
With its launch today, will Shpoonkle, the latest reverse-auction site for legal services, find itself suffering the same fate as its forerunners? Or is the time finally right for such a site?
Shpoonkle's shtick is to provide a forum where potential clients can post requests for legal work and lawyers can bid against each other to get the work. The site is being launched by a New York Law School student, Robert Grant Niznik.
Niznik has retained a high-tech PR consultant to position Shpoonkle as the next new thing. "Shpoonkle.com is the brainchild of a 21 year old New York Law School student about to graduate who is on a mission to make justice affordable," wrote the PR consultant in a recent e-mail.
If it were, in fact, the next new thing, then it is not one that bodes well for the future of the legal profession, at least judging by the comments of other legal bloggers. "Here you have a race to the bottom," writes Susan Cartier Liebel, "as lawyers bid against one another to pay the lowest fee to anonymous clients with legal problems." "The concept is a perfectly reasonable next step to the de-professionalism of legal services, where the purchase of legal services is no different than buying a widget at the big box store for the lowest available price," says Scott Greenfield.
The Next New Thing – Not!
The fact of the matter, however, is that the reverse-auction sites for legal services is not Niznik's brainchild. Several such sites have been launched in the past. If we have forgotten them, it is because they failed.
Way back in 2006, I wrote a post here about the launch of just such a site. Called Tip-Mart, it promised that its reverse-auction system "eliminates extraordinary market inefficiencies, drives down prices, increases sales, and provides new value to both buyers and sellers." Coincidentally, it too was created by a college student who believed he had the next new thing. Today, the site no longer exists.
Another such site went by the name LawyerQuotesFast.com (and also by the name LawyersForLess.com). This one, too, is no longer to be found.
As a matter of fact, there was even once a law review article written about reverse-auction sites for legal services. At the time, the author noted that there were six such sites when she finished her first draft of the article, but that two had already shut down by the time the article was ready for publication and a third had abandoned its auction component.
Will Shpoonkle prove itself to be successful where its predecessors could not? Is the time finally right for a reverse-auction site such as this?
At the outset of this post, I quoted Santayana. Perhaps the appropriate quote to close with is one from writer Kurt Vonnegut, "In this world, you get what you pay for."
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6 comments
Online Bidding for Clients « Virtual Law Practice · March 23, 2011 at 12:42 pm
[...] Both Susan Cartier Liebel and Scott Greenfield had blogged about this site in the past month. Robert Ambrogi even chimed in that the concept is old news and will hopefully fall to its demise sooner rather [...]
Claudia Johnson · March 27, 2011 at 2:10 pm
One of the key factors that will lead to failure in this model is the fact that the site does not triage or assist the "client" in posting a factually correct or verified story. Of course such pre-screening requires skill and time, which equal resources. The person posting the case can post any type of story without any verification. They may overstate or understate material issues in the case. The lawyer that bids for the case will be at huge risk of underestimating the costs of the case, in particular the costs of discovery. The site does however highlight the need to find a way to collectively lower the average cost of retaining an attorney or to find new pricing models. Are there any good online examples of sites that promote unbundled legal services from states where that is now allowed?
Legal Bidder · July 18, 2011 at 12:16 am
We just launched our site in similar fashion however our focus is to give the client ultimate control over their legal costs by placing the amount they would like to pay or better yet offering a flat fee to the attorneys that would like to provide the service to the client. We are backed several attorneys that have wanted to offer flat fee rates to customers. The recent demands of the economy have also provided for this opportunity. We don't intend to review posting however our intention is to offer guidelines of costs dependent on the region and the work the client intends to do. Thus if a client has a simple contract then the average cost will be posted.
We believe that this is the only way to give the client ultimate control and expectation for the legal work he desires to receive.
We encourage folks to try the site and send us any comments or questions.
Semi-Annual Virtual Law Practice in the News Roundup « Virtual Law Practice · October 5, 2011 at 1:19 pm
[...] launches. Legal bloggers comment on new model: Scott Greenfield, Susan Cartier-Liebel, and Robert Ambrogi. March, [...]
eBay of legal services: clients can seek lawyers' lowest bids | SmartPlanet · December 12, 2011 at 5:59 pm
[...] enamoured with the concept of bidding for justice, however. As Robert Ambrogi posted in his blog, LawSites, earlier in the year, there's nothing new about Sphookle, other than an odd name. The online, [...]
Auction Site Lets Lawyers Bid on Contingency Cases · Robert Ambrogi's LawSites · October 17, 2012 at 9:30 am
[...] websites where lawyers bid on cases posted by potential clients are nothing new. I've written here before about sites such as Shpoonkle and the now-defunct sites Tip-Mart.com and [...]


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24 Kids' Science Experiments That Adults Can Enjoy, Too
You're never too old for rainbows, explosions, or rainbow explosions.
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text: contentBronchitis (Acute) Introduction Development of Acute Bronchitis Signs and Symptoms Causes and Risk Factors Diagnosis and Conventional Treatment Novel and Emerging Strategies Integrative Interventions Life Extension Suggestions Development of Acute Bronchitis The bronchi are respiratory tract passages, or airways, that conduct air into the lungs (Moore 2013). Acute bronchitis is commonly thought of as a reversible inflammatory response that occurs as a result of infection or irritation of the cells that form the internal lining of the bronchi (called the epithelium) (Hueston 1998; Wenzel 2006). The inflammation and irritation associated with acute bronchitis is caused by the release of pro-inflammatory molecules by cells involved in the immune response. Viruses that infect the host in the course of acute bronchitis also affect the release of reactive oxygen species (ROS). These reactive molecules further incite the immune response and damage the epithelial cell membranes (Selemidis 2013).


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Summary: When a dreadful demon starts attacking the descendants of the tribe of her spirit guide, Sam Whitefeather, M. J. Holliday and her crew travel to New Mexico to stop this evil spirit by any means necessary.
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Prepares for her reality show; discovers that a demon is out to destroy all the Whitefeather decendants; faces the demon.
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BUST Magazine
Date: Friday, September 10, 2010 - 7:00 pm
Duration: 1 Hour
Gender-based street harassment is a global problem that limits women's access to public spaces.
Please join Holly Kearl, author of a new book about street harassment, as she discusses what we can do about it.
You'll also be able to meet and hear from activist groups featured in the book, including HollaBack NYC, RightRides, and Girls for Gender Equity.
Together we can stop street harassment and make public places safe and welcoming for women!
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September 2014 – January 2015
Troop 10 Court of Honor – Fall @ Prairie Star Middle School
Fall Court of Honor Full Class-A uniform required.
American Royal Parade @ Union Station
Website for further information: http://www.hoac-bsa.org/american-royal Flyer Link: http://www.hoac-bsa.org/Data/Sites/1/media/activities/american-royal/ACT-American-Royal-Parade-Patch-Design-Save-the-Date-2014.pdf
$100 Deposit (per person) An additional $25 late fee (per person) will apply if deposit(s) not paid by Sept 29th, 2014
We will meet at the Department of Transportation Building on the corner of Highway 69 and 167th. This counts for "Service Hours" and Second/First Class Rank "Activity". [...]
Eagle Court of Honor – Fall @ Blue Valley Northwest High School
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