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Check out this Exclusive Footage As DJ Envy and DJ Steel Interview Rocko on the SiriusXm Radio Show HipHopNation. Rocko Talk’s About His Label, HisArtist Future and his new project “Gift Of Gab”2
New Interview Update: @DjEnvy Talk’s With @Rocko4Real Live On @Siriusxm / @HipHopNation -http://wp.me/p2uZNO-1gV (3-21) S/o to @DjSteel1
Check out this exclusive Video footage as MicrophoneBully.com Brings you behind the scenes of SiriusXm‘s HipHopNation Show with Dj Steel and Dj Envy. (In this footage footage you will see Dj Envy and Dj Steel talk about Lil Wayne‘s Seizure and the brand new Bentley “Wraith“
Courtesy of Big Brother Biz of Microphonebully TV
Joint One Radio (Tokyo) returns with new format for 2013
Returning to live streaming on December 31, 2012, via their own portal, Joint One Radio brings its’ listeners a fresh format directly from the Joint One studio. This new format will increase global exposure to both major and independent artists alike. For 13 years, Joint One has held the number one spot in Asia for urban music.
Joint One is a multi-national company with offices in the Los Angeles area and broadcasting from Tokyo. Directly responsible for breaking many Western artists and music personalities in the Asian market, often before Western radio is playing the project, Joint One under the leadership of DJ Joey Slick, has developed a reputation as the go-to crew to get your music into Asia.
DJ Joey Slick, was sought out in 2000 to showcase his skills to Tokyo as part of J-Wave 81.3 FM, successfully adding Joint One Radio on INTERFM 76.1 in 2001, among other outlets to the show’s portfolio. Now in 2013 with over 2200+ episodes, Joey Slick and Joint One are ready to give their loyal fans more!
Joint One Radio, which reaches millions of listeners via Tokyo, will continue its’ Saturday show exclusively on INTERFM 76.1, however growth of the show has spurred the forward movement to a Joint One exclusive portal returning their weekday shows from their own studios which can be heard worldwide on the internet and mobile devices.
Joint One’s new format is themed: “Major Mondays” showcasing major label artists in the mix; “Tasty Tuesdays” collaborating underground Hip Hop with Reggae & Dancehall joints; “Wet Joint Wednesdays” featuring past & present R&B joints; “Throwback Thursdays” bringing back classic joints in the mix and “Fat Joint Fridays” spinning the greatest hits! (Music courtesy of the Joint One Record Pool Los Angeles).
Development of the Joint One brand continues to expand, fueled and driven by the global success of the radio show and record pool. Stay tuned for more Joint One major news and specials through www.jointone.com, www.facebook.com/jointoneradio & www.twitter.com/jointone as 2013 unfolds.
Joint One Radio staff and crew invite you to bring in the New Year with the one of a kind sounds of DJ Joey Slick and the whole crew, December 31 (Tokyo Time) as they bring in a brand new era providing hot new music and world premieres introducing top quality music from around the globe!
Simon Cowell
TV personality and music producer Simon Cowell is launching a new talent competition to find the world’s best DJs.
Already known to television audiences in Britain and the United States as the acerbic judge on hit talent shows like American Idol, The X Factorand Britain’s Got Talent, the 52-year-old is looking to expand his empire.
“DJ’s are the new rock stars, it feels like the right time to make this show,” he said in a statement.
The new format will be co-produced by SYCO, Cowell’s joint venture with Sony Music, and Overbrook Entertainment, a U.S. entertainment company founded by Hollywood star Will Smith.
Sony Pictures Television will also be a partner in the venture, which has been in development for more than a year. Smith’s wife Jada Pinkett Smith has been involved for Overbrook.
The three parties said they would announce their broadcast partners in Britain and the United States soon.
Retrieved from: http://www.telegraph.co.uk/culture/tvandradio/9040598/Simon-Cowell-to-launch-DJ-talent-show.html (January 29, 2012)
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Image by bunky's pickle via Flickr
By Funkworm
Hip hop artist Rhymefest wrote a thought provoking article at DJ Booth.net posing the question about who is more responsible for breaking records currently; bloggers or DJ’s? This has become increasingly frustrating for artists who find out that a lot of club DJ’s only want to play what’s hot on the streets and a terrestrial radio push demands that you have “mucho deniro”. So you’re stuck in a fucked up “chicken or the egg” scenario. They won’t play you if you’re not hot, but you can’t get hot if they don’t play you. (read more…)
Sen. Ron Wyden (D-OR) delayed the PROTECT IP Act in the Senate by placing a hold on the legislation last year. That hold kept the bill from coming to the consideration of the full Senate after it wasunanimously voted out of the Judiciary Committee—and gave time for the Internet to rally against it. The delay proved useful; Senate Majority Leader Harry Reid (D-NV) today canceled a planned vote to end Wyden’s hold, one scheduled for next Tuesday. PROTECT IP appears, in its current form, to be dead. (read more…)
Bookcover
Atlanta, GA (BlackNews.com) — A new book entitled Sex Time And Radio Vol. 3: The Cult of Personality has been released as part of a 5 volume, 4 book series about life in urban radio during the 1990s & 2000s. The author of the series is Marcus Chapman; a music historian and on-air personality known as “MC Marcus Chapman” who worked at WGCI-FM in Chicago, KKDA-FM in Dallas, WTLC-FM in Indianapolis, and was heard on WVEE-FM in Atlanta. Chapman also came close to making stops at stations in New York, Los Angeles, Miami, Philadelphia, Washington DC, and North Carolina.
While the entire Sex Time And Radio book series lets the reader experience the lifestyle of an on-air personality first-hand, Vol. 3: The Cult of Personality deals with life inside professional radio from 1995 to 1999; most notably inside Chicago radio station WGCI. Not only was WGCI Chicago’s #1 station at that time, it was also considered by many industry insiders to be the top urban station in America during that era. The station’s air staff produced nationally known alumni like Tom Joyner, Steve Harvey, Doug Banks, and current BET voiceover talent Rick Party. Author Marcus Chapman was WGCI’s youngest employee in this era, and he gives the reader an All-Access VIP Pass through this journey raw and uncut.
This book contains encounters with celebrities like R Kelly, Aaliyah, Dr. Dre, Michael Jordan, James Brown, Erykah Badu, OutKast, Ice Cube, Tyrese, En Vogue, LisaRaye, Lisa “Left Eye” Lopes, and many more. It also contains info on how professional radio stations schedule their music; how comedians like Steve Harvey originally started in urban radio; how music industry policies affected record store sales and Billboard charts in the ‘90s; how clubs impacted the lives of on-air talents & their listeners; plus the challenges, frustrations & triumphs during the author’s own rise from studio assistant to on-air radio stardom. The book also delves into the deeper psychological reasons and life experiences that affect the sex drives of males in the spotlight. Chapman describes Sex Time And Radio Vol. 3: The Cult of Personality as “a must read for any mature adult who turned on a radio from the ‘90s until now” and says that it contains “valuable lessons for anyone who ever wanted to be more than what others expected them to be.”
Here’s a brief excerpt:
“With Doug Banks leaving the station, and Tom Joyner’s national show scheduled to move over to competitor V103 in January, there was a sense of uncertainty in the WGCI offices in late ’95. Members of the sales staff seemed particularly worried since much of the station’s revenue had been built from the popularity of the ‘Turntable Brothers’ Banks & Joyner. The station now had to continue without their two marquee names, and an entirely new lineup had to be built for GCI. If things had gone as planned, 1996 would’ve simply been another successful year for the station. Instead, a chain of events took place in the fall of ‘95 that would change not only WGCI, but eventually all urban and urban AC stations around the country, as well as on-air talents and listeners in not-so-positive ways.”
Chapter titles in the book include:
The 20 Dollar Challenge; The Name Game; Telephone Luv; Meet You at the Party; A Shot at the Title; JB, Aaliyah, and the Dr. Dre/Tupac Battle From the Grave; The Afterset; The Rotation; Say My Name, Say My Name; Black Coffee; Goin’ Postal; Standing On the Outside; Break On Through to the Other Side!; Welcome to the Club; Livin’ Like a Rock Star (And the Legend of the 3rd Floor); Birthday Licks; Sexorcism; Balance; and Time For Me to Fly.
NOTE: The cover of Sex Time And Radio Vol. 3 is styled after the Ohio Players 1974 album Fire.
PRESS CONTACT: Interview bookings with author Marcus Chapman can be made directly at mcmarcuschapman@gmail.com For his Amazon bookstore, bio, radio library, You Tube clips, photos, Facebook & Twitter accounts, and more, go to www.MarcusChapman.com or www.SexTimeAndRadio.com
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By Glenn Peoples, Nashville
Pandora and Spotify Face Different Issues In Getting Music Rights
Let’s revisit this statement in 10 or 20 years: Streaming music services such as Pandora and Spotify are “not radio substitutes any more than your Walkman, CD collection or iPod ever was,” Lew Dickey, CEO, president and chairman of Cumulus Media, tells AdWeek. Instead, Dickey believes they are threats to CDs and downloads but not free local radio.
Dickey could be right. Only a time machine would help us know for sure. But I’m guessing people not in the traditional radio business would probably wager his statements prove to be wrong in a decade or two. Pandora is radio-like in many ways. It thinks like a radio company. It calls itself a radio company. And it is very open in its desire to displace traditional radio companies.
Actually, Dickey is probably half-right. The clues can be seen in the different ways copyright law treats webcasting like Pandora (the online parallel to radio) and on-demand services like Spotify (the online parallel to the CD collection or iPod). The Digital Performance Right Act of 1995 grants webcasters a compulsory license for the music they stream. That’s a lot like the way a radio station pays for its performances of music. In addition, limitations are placed on how webcasters stream songs. This makes webcasting similar to radio in its level of non-interactivity.
But the DRPA treats on-demand services differently because they have a greater potential to act as a substitute for purchases. So, unlike webcasters, on-demand services don’t get a compulsory license. Instead, they must negotiate with rights owners for use of their catalogs. As a result, it’s more costly to operate an on-demand service — because legislators believed there is a greater chance on-demand listening will cannibalize music purchases. Now, there is not yet evidence of cannibalization. But the law clearly shows people were expecting cannibalization back in 1995. ( AdWeek)
Read the full article at GetItDoneBlog.net
http://getitdoneblog.net/2012/01/16/article-is-internet-radio-a-substitute-for-radio/comment-page-1/#comment-2152 (January 17, 2012)
Clear Channel Radio Rebranded As Clear Channel Media And Entertainment | AllAccess.com.
CLEAR CHANNEL RADIO has changed its name to CLEAR CHANNEL MEDIA AND ENTERTAINMENT to “better reflect the evolution of its business.”
The company said the core of CLEAR CHANNEL’s business will remain its more than 850 radio stations, but the new brand more clearly signals its successful expansion into new areas. CLEAR CHANNEL MEDIA AND ENTERTAINMENT “delivers music, news, talk, sports and other content to diverse audiences across multiple platforms, including: broadcast stations; online, via iHEARTRADIO and on its stations’ hundreds of websites; HD digital radio channels; satellite; smartphones; iPADS and other tablets; in-vehicle entertainment and navigation systems; and via live events.”
“Over the last few years, I’ve watched as CLEAR CHANNEL RADIO has pushed beyond the traditional boundaries of radio to reach more Americans every month than any other media company through an unmatched combination of broadcast, satellite, online and mobile assets,” said CEO BOB PITTMAN. “Under JOHN HOGAN’s continued strong leadership, the new CLEAR CHANNEL MEDIA AND ENTERTAINMENT brand underscores that we are taking our brands and content wherever our listeners expect to find it. And, in the future, as new places emerge where people want to access our powerful brands and content, we’ll be there, too.”
“Radio is both our history and the foundation upon which we will grow our company moving forward. That will not change,” said CLEAR CHANNEL MEDIA AND ENTERTAINMENT CEO JOHN HOGAN. “CLEAR CHANNEL MEDIA AND ENTERTAINMENT represents our evolution as we prove our relationship with our listeners is so much more than just our transmitters and towers. We will continue to serve our increasingly diverse audiences and local communities with the best content — music, news, emergency information, and public service — wherever they expect it, while supporting advertisers, strategic partners, music labels and artists with creative, multi-platform marketing opportunities that reach, activate and engage target audiences like no one else.”
The new CLEAR CHANNEL MEDIA AND ENTERTAINMENT brand is designed to cover the wide range of services that it provides to the radio, media, online, mobile and music industries through its other divisions, including:
– PREMIERE RADIO NETWORKS, the content creation and distribution company serving close to 5,000 stations with programming like RYAN SEACREST, RUSH LIMBAUGH, DELILAH and more than 70 other brands and products;
– TOTAL TRAFFIC NETWORK, the programming and technology service that delivers broadcast traffic reports and real-time traffic data to vehicles via in-car and portable navigation systems, broadcast media, wireless and Internet-based services to thousands of CLEAR CHANNEL and non-CLEAR CHANNEL radio and television stations across AMERICA;
– THE KATZ MEDIA GROUP, providing media sales representation firm in the U.S. for radio and television stations; and
– RCS, which provides scheduling and broadcast software for radio, Internet and television stations in addition to research that aids the media and music businesses.
Retrieved from: http://www.allaccess.com/net-news/archive/story/101032/clear-channel-radio-rebranded-as-clear-channel-med?ref=mail_news
Industry Tips & Advice: How Music Licensing Works by Marshall Brain Pt 4 « GET IT DONE BLOG.
If you own a radio station or a restaurant and you want to broadcast or play music, what you need are public performance rights– the right to play music that the general public will hear in one way or another. Obviously, if you own a radio station playing 300 or 400 songs every day, you would go insane if you had to obtain public performance writes from every label and publisher. Therefore, public performance rights licensing is now handled by two very large companies named ASCAP(American Society of Composers, Authors and Publishers) and BMI (Broadcast Music Incorporated) that simplify the process. Each one handles a catalog of about 4,000,000 songs.
A radio station will typically purchase from ASCAP and BMI what are called blanket licenses to broadcast music. A blanket license lets the station play anything it likes throughout the year. ASCAP and BMI decide how to divide up the money among all the rights owners. (read more…)
Retrieved from: http://getitdoneblog.net/2012/01/10/industry-tips-advice-how-music-licensing-works-by-marshall-brain-pt-4/ (11 Jan 2012)
