New York, NY (February 21, 2008) – Brooklyn-born Jimmy Iovine is one of the most powerful people in music today.  His roster of artists is impressive (U2, Dr. Dre, Sheryl Crow, Mary J. Blige, Eminem, Gwen Stefani and The Black Eyed Peas) and his production credits are top notch (U2, Tom Petty & The Heartbreakers, Stevie Nicks, Dire Straits and Patti Smith).  He commands a salary of $200,000 a month and is considered one of the best music men in the business still behind a desk.

But not all is perfect in his world. 

Sales are floundering, an increasing number of artists want out of their deals and megastar 50 Cent has publicly questioned Iovine’s leadership abilities.  But while he may be struggling to find a foothold in a changing digital marketplace, Iovine is, at the very least, well-schooled on how to turn his artists into stars.  So it was with great interest that I sat and watched this video interview of the Interscope/Geffen/A&M chairman as he spoke with Artists House Music about the current state of music.

To be honest, though, I’m not impressed.  When you think of a high-powered music exec, with the crazy office, the clothes, the aura… none of it is readily apparent in this video.  Iovine looks burned out, frustrated and, whether he was pulling his best Derek Jeter (that is – talking at length about nothing), he doesn’t seem to have a clue about how to fix his labels’ current predicament.  Indeed, he could be trying to dumb it down by evading/over-simplifying questions on purpose, but either way, he doesn’t seem as sharp or as focused as you’d expect a man in his position to be.  I’m telling you, I’ve been in rooms with these people:  they’re hawk-faced, intense, focused and they rarely stop moving.  Everything is done at a pace you can’t keep up with.  Even their relative moments of calmness belie an unspoken “lets make this quick” attitude.  Iovine touches on a few valid points across the 20 minutes or so of footage here, but he doesn’t come off as being particularly innovative or in touch with what’s facing his empire.  

But what do I know.  Maybe they caught him on a bad day.  Maybe he’s just super laid back/stoned.  He’s sold a lot more records than I have, shiieet…  For more on the topic, get over to the forums discussion at The Velvet Rope. 

New York, NY (February 21, 2008) – Established in 1995 by Orpheus “Justo” Faison, the Mixtape Awards have become a welcome annual event in hip hop.  Mixtapes provide the best access to new music, but going a step further, they also function as a celebration of creative freedom.  The mixtape holds a unique position in hip hop because both DJ and Emcee must function as a unit, even more so than when an artist is making a studio album; the pace is different, the blends take the listener in and out, the vocal dubs create an atmosphere.  With equal time comes equal shine, and if the chemistry suffers, the whole vibe of the mixtape suffers, too.

Record labels will often struggle to comprehend where exactly a mixtape fits in the annual budget, but hip hop purists know that mixtapes are essential to keep the culture evolving and provide an outlet for fresh, gritty, dynamic music.  Countless artists have cut their teeth on the mixtape circuit and, in the case of 50 Cent, some make it big.  In the same way, a classic mixtape can give definition to a DJ’s career, boosting him or her instantly from obscurity to in-demand talent.  Justo understood all of that and made the decision to let the world in on the secret.  Justo was unfortunately killed in a car crash in 2005, but the Justo Mixtape Awards continue on and serve a lasting tribute to his legacy and solidify his already storied position in hip hop.

http://www.xxlmag.com/online/?p=19308 As reported by XXL.com, the awards ceremony planned for tonight, February 21, at an undisclosed location somewhere in NYC, has been postponed.  No word yet on why they have been delayed or a make-up date, but you can check out the full list of nominees below.  Get over to http://www.themixtapeawardsonline.com/ the Official Mixtape Awards site for more info.  Peep:

1. Best Blends Mixtape DJ:  This Justo goes to the DJ who mixes the best combination of music

DIRTY HARRY
SKEE
VLAD
MISTA RELLO
DUB FLOYD

2. Best Canadian Mixtape DJ:  This Justo goes to the best Mixtape DJ in Canada

A-TRAK
FLATLINE
RATED R
WOOGIE
BABY YU
SCARFACE

3. Best Club Mixtape DJ:  In Honor of MR CEE this Justo goes to the DJ that is a constant on the club scene in any area

CLINTON SPARKS
SELF
CAMILLO
ENUFF
L

4. Best Dirty South Mixtape Artist:  This Justo goes to the hottest Artist on a Dirty South Mixtape

LIL WAYNE
RICK ROSS
YOUNG JEEZY
TI
PIMP C

5. Best Dirty South Mixtape DJ:  This Justo goes to the best Mixtape DJ in the south

KHALED
DRAMA
CHUCK T
SMALLZ
JELLY

6. Best DVD Magazine:  This Justo goes to the hottest DVD magazine

THE COME UP
SUB-0
SMACK
COCAINE CITY
ALL ACCESS

7. Best DVD Mixtape Video:  This Justo goes to the DJ/DVD that has the hottest blends of videos

MOOD MUZIK 3
SMACK
HUSTLE UP
COME UP
MISTA RELLO

8. Best East Coast Mixtape DJ:  This Justo goes to the best Mixtape DJ on the East Coast

BIG MIKE
WHOO KID
DIGGZ
SUPERSTAR JAY
WHITE OWL

9. Best East Coast Mixtape Artist:  This Justo goes an East Coast Artist dominating the Mixtape scene (Regional)

JOE BUDDEN
SAIGON
STYLES P
PAPOOSE
UNCLE MURDER

10. Best Female Mixtape: In Honor of Jazzy Joyce & Lazy K this Justo goes to the best Female Mixtape DJ  (DJ Jazzy Joyce & Lazy K Award)

SYN CITY
BACKSIDE
BRANDI GARCIA
BLAZITA
DIME PIECE

11. Best Graphics on a Mixtape:  This Justo goes to the Design company that designs the best Mixtape Covers

WISEGUY GRAPHICS
MIAMI KAOS
ATL DESIGN
TANSTA
PDA

12. Best Hip Hop Mixtape:  This Justo goes to the hottest Hip Hop Mixtape

MOOD MUZIK 3 - DJ ON POINT & JOE BUDDEN
DA DROUGHT 3 -DJ KHALED AND LIL’ WAYNE
CALTROIT - DJ BISHOP LAMONT & BLACK MILK
THE PHANTOM - DJ BIG MIKE, POOBS & STYLES P
DEATH CERTIFICATE - DJ SKEE, DJ HAZE, SEPT 7TH & JUICE

13. Best Label Representative:  This Justo goes to the Label Exec that symbolizes everything a true Label Exec should be while representing the label and artists associated with the label

STEVE O
YOUNG SAV
DAN GREEN
DUKE DA GOD
THE GAME - BWS

14. Best Mash Up:  This Justo goes to the best mix of two different genres of music (Hip Hop & Classical)

MICK BOOGIE
CLINTON SPARKS
PDA - FALL OUT BOY/KANYE WEST
DJ MUGGS
DJ SKEE - THE AMERICAN GODFATHER

15. Best Midwest Mixtape DJ:  This Justo goes to the most popular Mixtape DJ in the Midwest

MICK BOOGIE
G SPOT
EV
PANIC
NONSTOP (HH)

16. Best Mixtape Duo:  This Justo goes to two DJs that come together to put out one or multiple hot Mixtapes.

BIG MIKE & THORO
ENVY & TAPEMASTERS INC
DJ L & SUSS ONE
DIGGZ & RATED R
SUPERSTAR JAY & BIG T
DIGGZ & LUST

17. Best Mixtape Internet Radio Show:  This Justo goes to the best Mixtape Show via Internet Radio

SHADE 45 – WHOO KID
STREETS OF LA – SKEE
NEW BIRTH RADIO – DJ GEN3
GO GETTAZ RADIO – DJ STEADY PACE & DJ JACK DA RIPPA
METROMIX

18. Best Personality on a Mixtape:  This Justo goes to the DJ that brings his own persona to the Mixtape; the most charismatic DJ

DRAMA
KHALED
BIG MIKE
SUPERSTAR JAY
CHUCK T

19. Best Mixtape Producer:  In Honor of Green Lantern, this Justo goes to the top Mixtape DJ that doubles as a producer

NU JERZEY DEVIL
DON CANNON
TOMMY GUNZ
ON POINT
SKEE

20. Best Mixtape Team:  This Justo goes to the DJ team with the hottest Mixtape DJs

CALI UNTOUCHABLE DJS
APHILLIATES
TAPEMASTERS INC
NOIZE MOB
TEAM INVASION

21. Best New Mixtape DJ:  This Justo goes to the DJ who has been around but recently gained fame

WHITE OWL
HAZE (BWS)
ME$$IAH
J RONIN
ROB E ROB

22. Best International Mixtape DJ:  This Justo goes to the best overseas DJ

PIMP
OPHAX
HOTSAUCE
BIG K
SEIKO

23. Best R&B Mixtape DJ: In Honor of DJ Famous this Justo goes to the hottest R&B Mixtape DJ (The DJ Famous Award)

2 MELLO
MARK XCLUSIVE
FINESSE
ROB E ROB
CHUCK T

24. Best Radio Mixtape:  This Justo goes to the best Radio Mixtape DJ

BIG MIKE
CLINTON SPARKS
WHOO KID
ENVY
FUNK FLEX

25. Best Reggae Mixtape DJ:  This Justo goes to the hottest Reggae Mixtape DJ

DJ L
DEXTERITY
RON DON
JAH PRINCE
KOOL KID

26. Best Reggaeton Mixtape DJ:  This Justo goes to the hottest Reggaeton Mixtape DJ

SIN CERO
WILLIE
FLACO
BOOTZ (“D”)
GERA

27. Underground Artist on a Mixtape:  This Justo goes to the underground artist who is dominating the Mixtape scene

GEOLANI
TWO FIVE
JOE HOLIDAY
JOELL ORTIZ
JUICE

28. Underground Mixtape DJ:  In Honor of J-Love, this Justo goes to the DJ who focuses on the underground scene (The J-Love Award)

DIGGS
BEDTYME
J RONIN
ME$$IAH
SCARFACE

29. West Coast Mixtape Artist:  This Justo goes to the best Mixtape artist on the West Coast

JUICE (BWS)
GAME
CROOKED I
BISHOP LAMONT
40 GLOCC

30. Best West Coast Mixtape DJ: The Justo goes to the best Mixtape DJ on the West coast  (In honor of DJ Warrior)

ILL WILL
SKEE
RAH 2K
JUICE
NU JERZEY DEVIL

31. Rookie of the Year:  This Justo goes to the hottest up and coming Mixtape DJ

SEPTEMBER 7TH
FURIOUS
SUGE WHITE
WOOGIE
DUB FLOYD

32. The DJ Screw Award: This Justo goes to the best DJ on a Chopped and Screwed Mixtape  (In honor of DJ Screw)

MICHAEL 5000 WATTS
BIGG RICH
OG RON C
FLETCH
WHUT IT DEW
TEKNIKZ

33. Best Mixtape DJ: This TOP Justo goes to the Mixtape DJ who DOMINATED the year  (In honor of DJ Kay Slay)

BIG MIKE
DRAMA
SKEE
SUPERSTAR JAY
MICK BOOGIE

34. Best Promotional Mixtape:  This Justo goes to the best promotional mixtape released by a DJ, Artist or Company

CORNERSTONE
HIP HOP DOC-TRINE
DIGIWAXX
ALLHIPHOP.COM: BREEDING GROUND
THE GRADUATE [KANYE] - DJ MICK BOOGIE

35. Best Mixtape of the Year:  This Justo goes to the hottest Mixtape released that DOMINATED the entire year

MOOD MUZIK 3 - DJ ON POINT & JOE BUDDEN
DA DROUGHT 3 - DJ KHALED AND LIL’WAYNE
THE PHANTOM - DJ BIG MIKE, POOBS & STYLES P
SHESUS KHRYST - SUPERSTAR JAY & REMY MARTIN
GANGSTA GRILLZ - DJ DRAMA AND VARIOUS ARTISTS
DEATH CERTIFICATE - DJ SKEE, DJ HAZE, SEPT 7TH & JUI

New York, NY (February 19, 2008) – I dunno, man, the new Jack Black/Mos Def comedy “Be Kind Rewind” could be a sleeper.  I heard about this like two months ago, and finally saw a commercial for it last night.  Looks hilarious.  Definitely has the Jack Black "hyper vs. sappy" thing in effect but… here’s the summary anyways, as attached to the official trailer at YouTube:

…”Jack Black and Mos Def star in “Be Kind Rewind, a one-of-a-kind comedy from the mind of writer/director Michel Gondry (Dave Chappelle’s Block Party, Eternal Sunshine of the Spotless Mind). Black stars as a loveable loser stuck in a life that’s too small for his big dreams. But when he unintentionally erases all the tapes in a video store where his best friend works, he devises a plan to satisfy the store’s few loyal customers by re-creating and re-filming every movie they decide to rent. Be Kind Rewind features a cast that includes Mos Def, Danny Glover, and Mia Farrow.”

“Be Kind Rewind” opens this Friday, February 22.  The “Boyz N The Hood” parody looks incredible.

New York, NY (February 19, 2008) – Having paid dues for over 10 years, Grind Music is finally reaping the accolades they’ve long deserved.  In an interview with HipHopDX, Sean C and LV drop science on studio chemistry, “American Gangster” and why younger artists need to go back to making full albums.

Before you click through, check out what they had to say about Loud.com below:

New York, NY (February 19, 2008) – As the RIAA continues to crack down on illegal file-sharing, colleges and universities are beginning to feel the heat.  A number of incidents have student bodies across the country freaked out and watching their mailboxes for a cease-and-desist letter, or worse, a $3,000+ bill. 

Yale Herald writer CAIO CAMARGO decided to take a closer look at what the RIAA is doing and how it’s actions could potentially affect the Yale campus.  You know when Students for Free Culture are quoted in an article, there’s bound to be controversy.  Read on:

…”(Students for Free Culture’s) main proposal in the realm of intellectual property is the decentralization of copyrights. Currently, in the vast majority of cases, the recording label holds the copyright for an artist’s music. The organization’s idea is to have the artist retain his copyright (which happens sometimes in independent labels), and thus have more of a say in what rights he wishes to retain. Though some artists might want to retain all rights, as record labels typically do, others might be willing to let their peers sample or re-mix their music.  Some might even allow their music to be freely distributed and copied. “There have been artists who have embraced [file-sharing],” said Stark–most notably, of late, Trent Reznor of Nine Inch Nails–but they have no say in the matter.

Kevin Driscoll, a first-year graduate student at MIT who founded the Free Culture chapter at the institution, points to “Oink”, an invite-only music sharing community that was shut down last spring. “It was the best music library that was ever assembled,” he said. Not only was the library extensive, it contained much more information about the music than could be found in any commercial service. According to Driscoll, Oink was similar in function to a library, and thus was in line with the goals of many universities. “From the perspective of somebody who values human knowledge and achievement and learning, the library is a major institution,” said Driscoll.

The chapters by no means possess uniform views on file sharing—not only is there considerable variation from chapter to chapter, but some do not support it at all. Many seem to view the ubiquity of file sharing and the RIAA’s reaction as a strong indication that something needs to change. Driscoll contends that, even though there are options for buying music digitally, the methods of distribution are lacking. His GNU/Linux operating system is not compatible with iTunes, and he is frequently at a loss for finding specific tracks via legal means. Stark expressed a similar frustration. “I think the only solution that would work for the RIAA is to have a system comparable to file sharing,” she said, stressing the need for reasonable prices–consistent with the miniscule costs of the distribution and reproduction of digital files–and a good interface.”

Indeed, almost a sacrilegious idea, but a promising one, nonetheless.  Abolishing record labels completely is a long way off and probably a fool’s errand, but shrinking the amount of surface area they control is not.  Examples are lawyers like Charles Lee Mudd, also quoted in the article, who do their best to advise students trying to navigate the aftermath of an RIAA black rose.  Students do their best to limit a major label’s reach, arguing that said labels alienate the very pockets that support them with lawsuits and impressions of Big Brother.  But until a lucrative model comes along, the RIAA is going to continue hunting it’s digital prey by the letter of the law.  And they’ll continue to win. 

Proceed with caution.  Not even the privileged are immune.

New York, NY (February 18, 2008) - Smoking Section with the leak…

New York, NY (February 18, 2008) – We’ve already discussed, suggested and quoted the data numerous times, but more empirical evidence has turned up in an NYU study showing that positive press on a popular blog can boost album sales.  As posted by The Hollywood Reporter:

…”NYU Stern professor Vasant Dhar and former student Elaine Chang sampled 108 albums released between January and March of 2007 to determine the impact of blog chatter on record sales. Using Amazon.com sales rankings, albums were tracked four weeks before and four weeks after release.

Researchers found that when an album got mention in more than 40 legitimate blog posts, sales were three times the average. If those albums were associated with major labels, sales jumped five times the average. Albums that got more than 250 blog mentions saw sales increases of six times the average.

The number of MySpace friends the artist had also improved album sales, but researchers said there was a weaker correlation than with blog chatter.”

I’d be interested to know what “the average” actually is.  Past sales?  Similar artists?  Median data from albums NOT mentioned on blogs?  It would have also been interesting to poll people who did NOT hear about the album via a blog and if it had an impact on their purchase of the album.  Then you would be able to get an accurate quote of how blog-savvy the “average’ consumer really is.  That sort of data could be put to use by the label for future releases and entered into a report about how to better target an artists specific demographic (or for that matter, expand it).

New York, NY (February 18, 2008) – Atlanta’s latest hot product, the been-grinding Polow Da Don, confirmed to MTV.com that he was the one that leaked “Love In This Club” on the web.  As reported by Shaheem Reid:

…”Thursday night, the culprit (at least behind the leak of "Love in This Club") revealed himself to MTV News: It was the track’s producer, Polow Da Don.

"I actually leaked it. I’m the culprit," he said nonchalantly. "It’s no secret. I told him when I saw him that I had to put my relationship on the line. ‘If it fails, I know you probably gonna be mad at me. I know you probably won’t f— with me anymore.’ I just felt like it was so much back-and-forth [between Usher and his record label]. I know this record is it! I’m out there, I know what it is. It got 600 spins in two days. That’s great for a record label. Imagine how good that is for one person who leaked it? Radio stations were getting it off the Internet and playing it. Before I left Atlanta, they were playing it 10 times in a row.

"When I spoke to Usher, he was like, ‘Maaaan, why’d you do it?’ " Polow added. "He knew I leaked the record, he didn’t have to ask. I was like, ‘What?’ He said, ‘You know you leaked the record.’ But he was getting good calls on it too. He wasn’t mad, but he was like, ‘Why’d you do that?’ Because everything has to be set up on their end. A video should be in place with an artist like that as soon as it drops. Those are the things you risk, but it’s working out beautifully. Flex is playing it, DJ Clue, DJ Khaled, Greg Street. Girls love it."”

Ursh and his people are upset at the leaks because it throws a wrench in their marketing plan, but assuming the artist has more than one big record (and you’d be dumb to think Usher is only going to have one smasher on his album), it’s not a bad idea to leak a song.  Sometimes it’s nice to just let the music breathe and speak for itself.

New York, NY (February 18, 2008) – The planned Hot Boys Reunion show in New Orleans during NBA All-Star Weekend was cancelled last night when three people were shot outside the venue before the show even began.  MTV.com with the details:

…”According to police, the victims were standing on the sidewalk and began running when they heard gunshots. The three were quickly taken to a local hospital, where their injuries were said to be not life-threatening; the venue was closed and the event canceled.

At press time, local police said they have no suspects or motive in the shooting.

None of the MCs had arrived at the venue by the time of the shooting. MTV News caught up with Wayne not long after the incident. He seemed optimistic that the Hot Boys reunion could be rescheduled, saying that it’s "only a phone call away."”

More violence at a hip hop concert.  Wait until mainstream media gets ahold of this one…

New York, NY (February 17, 2008) – One of my favorite rappers when he… raps… 3000 sits down with what appears to be a relatively green reporter for BlackTree TV.  His views on the current state of hip hop are interesting, kind of makes you think a bit more open-minded about the subject.  While I can partly agree, I’ll hold my tongue and not spoil it.  Peep:

New York, NY (February 16, 2008) – Still sitting at #1 on the R&B/Hip-Hop charts but dropping to #3 overall on the Billboard 200 behind Jack Johnson and Sheryl Crow, the lovely Alicia Keys showed no real signs of slowing down on this week’s Chart Watch.

Moving 80,200 copies of “As I Am” in her 13th week, Keys is sitting just shy of the 3 million mark at 2,987,600.  To that end, quality music speaks for itself, folks, because behind her, R&B is still dominating sales of urban music.  Mary J. Blige saw good numbers this week scanning 44,600 copies of her eighth studio album, “Growing Pains,” good for #7 overall.  Her sales total stands at 1,177,100.  Keyshia Cole posted over High Society, moving 35,400 additional copies of her sophomore LP, “Just Like You.”  She sits just outside the Top 10 at #11 this week, and her 20-week total of 1,131,100 is proof-positive she’s a star.  While she didn’t leave L.A. with a Grammy, Cole is clearly on the right track.

Right behind her at #12 is R&B’s young pimp, Chris Brown.  While his T-Pain assisted single “Kiss, Kiss” plummeted from #14 to #22 on the Billboard 100 this week, Breezy still has a firm grip on the #2 spot on the strength of “With You.” And I’d be remised if I didn’t mention “No Air,” his duet with Jordin Sparks, jumped up 10 spots this week to #32.  After 14 weeks, Brown’s second LP “Exclusive” has sold 1,248,200.  Run it.

Now, that said, the big move this week involved NONE of the above.  That honor belonged to Brit import Amy Winehouse who leapt up 30 spots to #24.  With the pre-Grammy buzz at a fever pitch, Wino delivered a knockout performance via satellite and took home five awards (though she lost best album to Herbie Hancock).  “Back To Black,” produced by pop’s new wunderkind Mark Ronson, moved 24,600 copies and sees it’s 48-week total at just over 1.5 million units.

Black Eyed Pea Fergie continues to chart well off the strength of “Clumsy,” but she slid two spots to #27 this week.  Seventy-three weeks ago, she launched “The Dutchess” with “My Humps.”  That song is thankfully toast, but the album seems to have ass for days, moving 23,500 copies this sales period for a Ferg-tastic total of 3,420,500.  Quiet as it’s kept, R&B crooner J. Holiday followed her humps at #34 this week, moving 19,200 copies of “Back of My ‘Lac.”  The album is now officially gold, with a 19-week total of 504,600.  Behind him (eww) is The-Dream (again), moving 18,600 copies of his album “Love/Hate” for a 9-week total of 205,200.  Dream is the one responsible for Holiday’s baby-makin hit “Bed,” and will likely be cited/blamed as the reason behind a population spike roughly 6 months from now.

The only rapper in the Top 50, Soulja Boy dropped five spots this week to #36.  His debut record, “Souljaboytellem.com” moved 18,600 copies this week, good for 764,600 overall.  Close behind him was Jaheim at #37 with “The Makings of A Man.”  Pushing an additional 18,400 copies, he sees his 8-week total at a respectable 349,200.  And lastly, the increasingly more lovely Rihanna wraps her legs around the #50 spot on the Billboard 200, scanning another 16,800 copies of “Good Girl Gone Bad.”  Despite the massive success of her singles, the Def Jam cutie has only moved 1,033,400 in 36 weeks on the charts.  Surprising considering her exposure. 

The charts should be buzzing next week, as we’ll all be checkin for MJ… the reissue of his classic “Thriller” dropped on Tuesday as “Thriller 25,” and with Akon assisting on the lead single and the involvement of folks like Chris Brown, Kanye West and Fergie, Jackson is sure to make a solid impact.  Til then…

New York, NY (February 15, 2008) – The evolving saga of digital rights management went international this week, as a panel of high-profile executives got together in Barcelona, Spain to talk about the pros and cons of the technology as it applied to mobile services.

All Big Four labels have experimented with non-DRM files in the singles market, but subscription services still carry the “rip-and-die” collar.  Larry Moores, Senior VP of Global Product Management at Real Networks noted that, “if you want to fully enjoy the experience (of a DRM-track), you have to buy it three times. Well, the market’s voted (against that) by stealing music."

More from The Hollywood Reporter:

Brian Levy, VP and Chief Technology Officer for Communications, Media and Entertainment at Hewlett-Packard, said going completely DRM-free would be "an over-reaction" and said technology firms should work with music companies to come up with a solution.

"We as an industry haven’t developed formats that are transferable between networks," he said, "We’ve made a world of complexity and then say we want the people who create the content to take the risk (by getting rid of DRM).  It’s our job to make this insanely simple."

Levy predicted that the model of locking in users to one device will eventually prove "unsustainable."

"DRM-free is only an interim solution," he said.

I think he’s on the right track with transferable technology (corporate greed prevents that), but I also think it’s shortsighted to insinuate DRM-free files are not a viable option.  Maybe he’s got something else up his sleeve that he didn’t want to talk about, but until there’s a way to monetize the unlimited access to music that is already available, it’s a great starting point.  Indeed, temporary, but consumers are tired of being treated like supporters – they want to be fans again.

And in the mobile space, they need to think long-term.  Whether it’s streaming content or unlimited access, people are going to be connected wherever they go in the next few years and will want a service that reflects that newfound social dynamic.  DRM is a binding agreement, it’s a remote control car in a radio controlled, wireless world.  A program that embraces that impending fact embraces the core elements of music’s creation.  I firmly believe when the model arrives that changes the music industry, it will be copied by other industries and the entire world economy will follow suit.

Big business makes stars and stars draw the eyes; but it’s the eyes that bring in the money.  Big business is going to have to realize that the eyes are the ones making the stars now.  If they don’t understand that, they’re all going to be out of a job.

New York, NY (February 15, 2008) – Having been a drummer myself for 18 years, I’m glad this video is making the rounds across the web.  Drums have the unique ability to make everyone shut up (in a good way) when they’re being played correctly.  Now, I can’t say I’m overly impressed with either man in this video, they’re interaction is the real selling point and they’re both excellent drummers on their own.  If you haven’t seen the video, give it a look:

However, I’d be an asshole if I stopped there and didn’t put you onto some truly GENIUS drumming.  Below is the legendary video of Gene Krupa and Buddy Rich performing together on The Sammy Davis Jr. Show in 1966.  Unfortunately for Krupa, the duet played more like a changing of the guard, as Rich upstaged his elder counterpart with a vicious barrage of single-strokes and an overall impressive display of bottled aggression.  You can’t deny the influence Krupa has had on drummers throughout the years, but here, Rich is clearly the superior player.  Big band, the way it was supposed to be.  Check:

And lastly, here’s a gem from the former drummer of The Police, Omar Hakim.  An integral part of developing The Police’s signature sound, Hakim kills it with six different styles while showcasing at a Roland drum expo in Japan.  It’s an exercise in fusion, bringing together Barker’s punk, ?uestlove’s hip-hop/funk, Krupa’s classical technique and Rich’s syncopated patterns.  One of the best to do it and one of my inspirations on the kit…

New York, NY (February 15, 2008) - One of the West Coast’s finest flippin over the track that put me onto hip hop, Tupac’s classic “Hit ‘Em Up.” 

Crook’s had the blend of East Coast wordplay and West Coast gangster mastered for a minute, but the swag is undeniable:

”Pis-tols doin dread-ful things –
…Give you a 360 Halo and Red Bull wings.”

Don’t sleep.  Get over to his MySpace.  Download Hip-Hop Weekly #46 here.

New York, NY (February 15, 2008) - For the V-Day blues, hangovers or Gives-A-Fucks, “I’ll Be There For You/You’re All I Need” by Meth and Mary.

RZA did his thing, man…  aha but shout out if you copped the single that had the "Puff Daddy" mix, too.

And my CD still works.  Tical…

New York, NY (February 12, 2008) – Under proposed legislation set to hit the floor next week, users in the UK that download music and movies illegally could be banned from accessing the web permanently, the Times of London is reporting. 

The legislation gives offenders a “three-strike warning” before their ISP provider is forced to take legal action.  With the music and film industries documenting record losses due to piracy, this proposed government intervention may set an international precedent.  More from author Francis Elliot, the Deputy Political Editor:

…”Six million broadband users are estimated to download files illegally every year in this country in a practice that music and film companies claim is costing them billions of pounds in lost revenue annually.

Britain’s four biggest internet providers – BT, Tiscali, Orange and Virgin Media – have been in talks with Hollywood’s biggest studio and distribution companies for six months over a voluntary scheme.  Parallel negotiations between Britain’s music industry and individual internet providers have been dragging on for two years.

Major sticking points include who will arbitrate disputed allegations, for example when customers claim to have been the victim of “wi-fi piggybacking”, in which users link up to a paid-for wireless network that is not their own. Another outstanding disagreement is how many enforcements the internet companies will be expected to initiate and how quickly warning e-mails would be sent.”

Should this legislation pass, the U.S. might be forced to consider a similar move.  The mammoth legal headache and cries of Civil Rights violations that would ensue could prove to be the most significant business court case in years.  An idea for monetizing that illegal flow of entertainment will come, though, because of one undeniable fact: digital piracy is not the same as a boosted car stereo.  A file, whether legal or illegal, can be tracked, it’s path filtered and patterns analyzed.  The technology exists.  And that’s where people should be looking for the fix. 

Because lets be honest… appealing to people’s sensibilities in this instance is not going to work; downloading illegally, once a niche culture, is gaining widespread acceptance.  For too long, the record companies were winning and Gen X has provided Generation Broke the means to make them pay for it.  Entertainment has evolved in sophistication, and the business of entertainment must adapt to the changing marketplace, too.  Quickly but quietly, the question has gone from what does the audience want to how much of what we want can we get? 

Now the PEOPLE are the ones asking the questions.

To curb the illegal flow of goods, services and products, industry executives in film and music need to make sure they understand that.

New York, NY (February 12, 2008) – A nice list from Spin Editor Doug Brod containing a few observations from Grammy weekend.  He included some of the better performances, as well.

My favorite from the list, though?  Number 7:

Kid Rock on septuagenarian Keely Smith: "Still great. Still sexy."  Kid Rock:  Still creepy.

As a drummer, fan of country music and lover of hot chicks, I’d also ask that while you’re on the page you check out Carrie Underwood’s performance with what looks to be the folks from “Stomp.”  If that is the case, I saw their troop at West Point here in New York years ago and it blew me away.  Every job I ever had after that which involved sweeping became more a noise-making opportunity than getting the floor clean.  But I digress.  Peep Wino’s performance… chick is dope:

New York, NY (February 12, 2008) – With assists from some of today’s biggest stars, Michael Jackson’s long awaited “Thriller 25” finally hit shelves today.  A commemorative reissue of the biggest selling album of all time, “Thriller 25” is a fan’s dream, with never-before-heard recordings, remixes and a special bonus DVD.

Kanye West, Will.I.Am, Akon and Fergie all lent their talents to the record.  ‘Wanna Be Startin Somethin’” with Akon premiered on MTV.com last month.  Chris Brown, Nick Cannon and Imogen Heap all participated in a related 40-episode podcast series called Thrillercast (get the widget for it here).  Read the whole article on MJ here.  More on the reissue:

…”Thriller 25 (includes) a Kanye-produced remix of "Billie Jean"; Will.I.Am’s reworkings of "The Girl Is Mine" and "P.Y.T."; Fergie’s version of "Beat It"; an outtake from the original Thriller sessions called "For All Time"; "Someone in the Dark"; "Carousel"; and the original "Billie Jean" demo. To boot, there’s a DVD encompassing the related Thriller short films, Jackson’s Emmy-nominated performance of "Billie Jean" during the "Motown 25: Yesterday, Today, Forever" TV special and more.”

It’s always intriguing to see what Michael will do next.  “Startin’ Somethin” seems more like Akon covering the Gloved One, but the beat is still pretty dope.  Younger generations unfamiliar with Jackson but familiar with Rihanna’s “Don’t Stop The Music,” will recognize the chorus and hopefully make the connection.  At one point, there WAS more to MJ than hanging children over a balcony and trials about keeping them in his bed.  We’ll see if the public responds…

New York, NY (February 12, 2008) – Word is out that New Orleans club Dream will be hosting a reunion of the Hot Boys on NBA All-Star Weekend.  Get the scoop here.  Read:

…”According to the club’s website and flyers advertising the event, Lil Wayne, Mannie Fresh, Juvenile and B.G. will all be in attendance. Turk, the only other original group member is currently incarcerated on an attempted murder conviction. The reunion is being billed as part of a three day All-Star celebration that the club is holding, which includes a “Welcome to New Orleans” kick-off party hosted by NBA stars Chris Paul and Baron Davis on Friday (February 15); a “$100 Million Players Ball” with Weezy, Juelz Santana and Rick Ross on Saturday; and the Hot Boys reunion finale on Sunday.”

The Hot Boys helped usher in the era of extreme ballin, turning “Bling, Bling” into a national catchphrase and inundating the world with ass-shaking songs and bad grills.  Bad as in, not good; as in… obscene.  All have seen moderate levels of success in their solo careers (the group broke up in 2001), but the real breakout star has been Lil Wayne.  Lately he’s been embroiled in beef with rappers and baby momma’s alike, but Wizzle also stays front and center with guest appearances and mixtape releases.  And while his lyricism lends itself to certain debate, it’s without question that his presence is sure to draw some interest back to the Hot Boys after such a long absence.

New York, NY (February 12, 2008) – Common has seemingly been all over the web of late, and to give his fans a bit of definition to all the press, the Windy City’s son posted a video on his MySpace blog.  In it, he recaps all the commonly goodness he’s gettin into. 

A quick aside… while it’s not announced in the video, XXL.com posted a bit the other day confirming Com has taken the role of The Green Lantern in the new “Justice League” film that’s being developed.  But as you’ll see, there is a lot more in the works. 

Some of the recent Grammy winner’s expected highlights from 2008:

• His 8th album will be called “The Believer,” and though he hasn’t started working on it yet, he anticipates Kanye West (their third collaboration) and The Neptunes will be involved, and wants Just Blaze on the project, too
• Speaking of Just Blaze, Smirnoff has asked that Com and JB get together to remake “The Light” for their Signature Mixed Drinks series (a collab Com is looking forward to, he says)
• Look out for “Wanted” and “Street Kings,” two feature films that will further establish Com as an actor
• More children’s books are on the way from his Common Ground Foundation