Dga Head Takes Aim At Sag

The Directors Guild of America, which has signed an agreement with the Alliance of Motion Picture and Television Producers, has taken issue with the Screen Actors Guild, which has non, over the issue of union jurisdiction over programs produced for the Internet. SAG is insisting that all such shows be produced under the footing of the union narrow; producers maintain that they must be allowed to experiment with low-cost productions but have agreed to union jurisdiction if simply one union member is employed. The DGA has accepted the AMPTP's damage. On Wednesday, the DGA released a copy of a letter to its members from DGA President Michael Apted saying in effect that SAG's stead (he doesn't mention the sister union by name) would make online experimentation by the producers "structurally and economically unfeasible" and result in new media production gravitating "toward the Googles and Microsofts of the domain" which are not signatories to a union squeeze. The alternative would be for the studios to create "nonunion subsidiaries." Apted argued "Before there tin be a union caper, there has to be a caper. And scorn all the grandiose speak about the coming windfall, new media hasn't yet started raining money. The truth is that for new media production to realize its undeniably brobdingnagian potential -- and create all those jobs we want our members to have -- it must be granted the room to evolve and grow." Daily Variety quoted SAG National Executive Director Doug Allen as responding "I think what really stands logic on its head is the idea that the way to form union work is to encourage signatories to produce non-union under our contracts." �

21/08/2008

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Download Coleman Hawkins

Artist: Coleman Hawkins: mp3 download    Genre(s):  Jazz Other     Discography:      Desafinado: Bossa Nova and Jazz Samba    Year: 2006    Tracks: 1      Body and Soul    Year: 2003    Tracks: 23      Ken Burns Jazz Collection    Year: 2000    Tracks: 19      The Genius of Coleman Hawkins    Year: 1998    Tracks: 21      Sirius    Year: 1995    Tracks: 9      Duke Ellington Meets Coleman Hawkins    Year: 1995    Tracks: 9      High and Mighty Hawk    Year: 1993    Tracks: 6      The Hawk Flies High    Year: 1991    Tracks: 1      Hawkins! Eldridge! Hodges Alive!    Year: 1961    Tracks: 7      Body and Soul Revisited    Year: 1951    Tracks: 20      Ken Burns Jazz Series: Coleman Hawkins    Year:     Tracks: 19      Jazz Masters 34    Year:     Tracks: 16 Coleman Hawkins was the first significant tenor saxophonist and he stiff one of the greatest of all time. A systematically modern improviser whose noesis of chords and harmonies was encyclopaedic, Hawkins had a 40-year meridian (1925-1965) during which he could entertain his possess with whatever challenger. Coleman Hawkins started pianissimo lessons when he was five-spot, switched to violoncello at age seven-spot, and iI years afterwards began on tenor. At a sentence when the sax was considered a knickknack official document, used in music hall and as a poor substitute for the trombone in marching bands, Hawkins sought-after to develop his possess sound. A professional when he was 12, Hawkins was playing in a Kansas City field of operations endocarp band in 1921, when Mamie Smith hired him to play with her Jazz Hounds. Hawkins was with the blues singer until June 1923, making many records in a screen background role and he was now and then heard on instrumentals. After going Smith, he freelanced around New York, played in brief with Wilbur Sweatman, and in August 1923 made his first gear recordings with Fletcher Henderson. When Henderson formed a permanent orchestra in January 1924, Hawkins was his superstar tenor. Although (due mostly to lack of contention) Coleman Hawkins was the top tenor in jazz in 1924, his staccato runs and use of slap-tonguing sound rather dated today. However, after Louis Armstrong joined Henderson later in the year, Hawkins learned from the cornetist's relaxed smooth stylus and advanced quickly. By 1925, Hawkins was truly a major soloist, and the following class his solo on "Stampede" became influential. Hawk (wHO double in other age on clarinet and bass adolphe Sax) would be with Fletcher Henderson's Orchestra up to 1934, and during this sentence he was the obvious pacemaker among tenors; Bud Freeman was around the only tenor world Health Organization did not sound like a close up congeneric of the hard-toned Hawkins. In addition to his solos with Henderson, Hawkins backed some blues singers, recorded with McKinney's Cotton Pickers, and, with Red McKenzie in 1929, he cut his first gear classical ballad statement on "One Hour." By 1934, Coleman Hawkins had tired of the struggling Fletcher Henderson Orchestra and he affected to Europe, spending five-spot years (1934-1939) abroad. He played at first gear with Jack Hylton's Orchestra in England, and then freelanced passim the continent. His nigh celebrated recording from this period of time was a 1937 date with Benny Carter, Alix Combille, Andre Ekyan, Django Reinhardt, and Stephane Grappelli that resulted in classical renditions of "Crazy Rhythm" and "Honeysuckle Rose." With World War II coming close, Hawkins returned to the U.S. in 1939. Although Lester Young had emerged with a whole raw style on tenor, Hawkins showed that he was still a dominant force by victorious a few het chock up roger Huntington Sessions. His recording of "Body and Soul" that yr became his to the highest degree renowned record. In 1940, he light-emitting diode a braggy band that failed to capture on, so Hawkins stony-broke it up and became a fix on 52nd Street. Some of his finest recordings were reduce during the first half of the forties, including a stunning quartette variant of "The Man I Love." Although he was already a 20-year veteran soldier, Hawkins bucked up the jr. bop-oriented musicians and did non motivation to adjust his harmonically advanced style in order to toy with them. He used Thelonious Monk in his 1944 quartet; lED the low official federal Bureau of Prisons record academic term (which included Dizzy Gillespie and Don Byas); had Oscar Pettiford, Miles Davis, and Max Roach as sidemen early in their careers; toured in California with a sextuplet featuring Howard McGhee; and in 1946, utilized J.J. Johnson and Fats Navarro on record dates. Hawkins toured with Jazz at the Philharmonic several times during 1946-1950, visited Europe on a few occasions, and in 1948 recorded the first unaccompanied saxophone solo, "Picasso." By the early '50s, the Lester Young-influenced Four Brothers sound had suit a a great deal greater influence on offspring tenors than Hawkins' style, and he was considered by some to be out of fashion. However, Hawkins unbroken on on the job and occasionally recording, and by the mid-'50s was experiencing a renaissance. The industrious Sonny Rollins considered Hawkins his master influence, Hawk started teaming up regularly with Roy Eldridge in an exciting quintette (their show at the 1957 Newport Jazz Festival was noteworthy), and he proven to still be in his prize. Coleman Hawkins appeared in a wide variety of settings, from Red Allen's het Dixieland dance orchestra at the Metropole and stellar a bebop escort featuring Idrees Sulieman and J.J. Johnson, to guest appearances on records that included Thelonious Monk, John Coltrane, and (in the early '60s) Max Roach and Eric Dolphy. During the first half of the 1960s, Coleman Hawkins had an opportunity to record with Duke Ellington, collaborated on one jolly case session with Sonny Rollins, and even did a bossa nova album. By 1965, Hawkins was even display the influence of John Coltrane in his exploratory flights and seemed eternal. Alas, 1965 was Coleman Hawkins' last serious year. Whether it was senility or defeat, Hawkins began to lose interest in life history. He practically give up feeding, increased his drinking, and quickly wasted away. Other than a surprisingly in force show with Jazz at the Philharmonic in early 1969, identical slight of Hawkins' work during his terminal three and a half days (a geological period during which he largely stopped recording) is up to the level one would expect from the corking master. However, in that location ar loads of brilliant Coleman Hawkins recordings presently available and, as Eddie Jefferson said in his vocalese version of "Body and Soul," "he was the martin Luther King Jr. of the saxophone."

Musicians' retirement home to close

Ivor Newton House, the only installation in the UK that specifically caters for retired musicians, is to close in October.


The Musicians Benevolent Fund, world Health Organization run the 21-bed home in Bromley, south east London, enjoin that the it is unable to offer the specialist nursing and dementia care needed by its residents, and is determination it more and more difficult to fill beds, according to BBC News.


"This decision has not been taken without a great deal of thought," MBF chairman Richard Lyttelton told the BBC. "But it has become increasingly hard to fill up the home as more and more people quest our reinforcement wish to go into residential care closer to where they live or near family and friends."


Czech director Vilem Tausky and British conductor Stanford Robinson have both been residents at the home.


The Musicians Union has expressed concern at the gag law, which has been met by an angry response from residents, many of whom ar in their 90s, and their families.


The MBF has promised to

MySpace Music Partners With Three Major Labels For Digital Download Service

It takes a major player to challenge Apple's iTunes in the download market, and so far, nobody has been able to come close to the industry leader. But MySpace, which is to social networking what iTunes is to MP3s, thinks it has the answer.

The social-networking site announced on Thursday (April 3) that it has joined with Universal Music Group, Sony BMG and Warner Music Group to form the new MySpace Music, a service that will offer DRM-free MP3 downloads of songs and videos from the three major labels, as well as ad-supported video and audio streams, ringtones, merchandise and concert tickets.

"We're really excited to partner with these industry leaders to create the most ... innovative and dynamic music service on the marketplace and on the planet," MySpace cofounder and CEO Chris DeWolfe said in a conference call with reporters Thursday morning. "MySpace Music integrates the world's most popular music community with the most popular catalog of music content available online from the world's biggest music companies."

At press time, the other major label, EMI, had not yet signed on to the project. When asked if it would be joining in the future, DeWolfe said MySpace would like to "do business with everyone." The company is speaking to a number of other labels, both majors and independent, DeWolfe said, but he could not answer whether EMI would be part of the project.

DeWolfe said that the new features would be rolling out on the existing MySpace Music community over the next few months in the United States and would spread worldwide once international issues concerning rights are ironed out. He would not talk about financial specifics of the deal or nail down the exact price of the downloads, except to say that it would be "very competitive."

Though COO Amit Kapur said the download service would be available on "any device or computer," DeWolfe explained that MySpace realizes that many of its users own iPods, and "to whatever extent we can leverage the environment to make it accessible to iPods, we will do that."

Part of the deal reportedly involves Universal dropping its 2006 copyright-infringement suit against MySpace for an undisclosed settlement. Last year, industry leader Universal began limiting its artists from streaming full songs on MySpace, asking them to cut the clips down to 90 seconds. According to the New York Post (which, like MySpace, is owned by News Corp.), the deal does not involve the transfer of any money, but will give the label groups minority stakes in MySpace Music and a chance to participate in ad revenues that News Corp. hopes to generate from the service.

DeWolfe said the current MySpace Music site draws 30 million unique visitors a month and has more than 5 million artist pages, ranging from unknown, unsigned acts to major-label superstars.

"We believe that the Web is becoming increasingly more social, and MySpace Music is a new way of consuming and experiencing music online that everyone can participate in," DeWolfe said. "Today really represents the beginning of a new chapter in the story of modern music. We feel that modern music is about giving up control and taking the content to the people and letting the people define their own experience. Our goal is to empower users and artists to define their own music experience."

Given MySpace Music's already huge reach, DeWolfe added that the new venture is starting with a "big, big" head start on the competition. Asked if there are any exclusivity deals that would prevent such competitors as Facebook from cutting the very same deals with the labels, DeWolfe said he could not discuss that, but he again stressed that his company has a huge jump on rival sites because of its already large user base.

No indication was given of how many tracks the service would offer, but Kapur said that users would be able to stream all the songs in the catalog and use them to create and trade playlists.






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LiveDaily Song of the Day: The Delta Fiasco - "Death Letters"

Today's Song of the Day is by The Delta Fiasco [ tickets ]. The group's featured cut is "Death Letters," which appears on their forthcoming "Dreameater" E.P.

Kojak

   
Artist: Kojak

   Genre(s): 
Electronic
   Rap: Hip-Hop
   

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Discography:


   
 Every Room On Every Floor

   Year: 2003   
Tracks: 13


   
 Crime in the City

   Year: 2000   
Tracks: 18

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Hard Rock International Delivers Unprecedented Access to Historic Collection Of Rock 'N' Roll Memorabilia On-Line

Naomi Campbell To Face Assault Charges

Supermodel Naomi Campbell will face criminal charges over her alleged spat with a policeman at an airport last month.
The 38-year-old will be prosecuted after she was removed from the first class cabin of a British Airways flight bound for Los Angeles at London's Heathrow airport.
The notoriously tempestuous star had allegedly lost her temper after being told one of her bags had been misplaced, with claims she then assaulted armed officers who arrived to escort her from the aeroplane.
Although Campbell’s spokesperson refused to comment, The Daily Mirror reports she will now face charges after originally being on suspicion of assaulting a police officer.
"She will be keeping the courts busy for some time,"  a source says.