Although… 400+ grand as loss of profit? woooow. I’m switching to Raves.

Next week, Sat, September 11th.

Touch The Sky.

Tha Trickaz - RED Alert! // Bedsty presents... TOUCH THE SKY from Bedsty Music.Parties.Design on Vimeo.

Check out a fresh track newly uploaded by Tha Trickaz

Cassius - The Sound Of Violence (Tha Trickaz Remix) by ThaTrickaz

For more info: http://bedsty.com/2010/08/red-alert-bedsty-presents-touch-the-sky-1-altitude/
To add as event on Facebook: http://www.bedsty.com/touchthesky.html

But it does not mean the opposite is true. Not having a platinum album doesn’t mean no success – because we should all agree, who buys album these days – very few of us, but we do consume ALOT OF MUSIC. Some might even suggest more than we previously have in our lifetimes – and other’s say maybe too much.

Take this article by Joseph Plambeck for St. Louis Today, who points out that dear ol’ Taio Cruz is #54 on the Billboard Charts, but have sold 4.9 million singles on iTunes, and garnered 49 million views on YouTube. Tell me that isn’t success? Or even Snoop Dogg or The Roots – both album sales are just plain stupid. Well, Snoop Dogg’s album was alright – but The Roots was yoooooooooo!!!!!!

Nonetheless, we cannot write them off as unsuccessful – and worse still, write a new artist off just because the album isn’t doing as well. Music does not equal to record sales. Record sales should – and is now – be looked at just a portion of the reach, popularity, viewership, consumption…you name it!

And so a new chart is in town.

The Ultimate Chart is the first and only chart that looks at all of the ways in which music is popular, online and off. The first published chart, the Ultimate 100, is available now.

be sure to check out details of TOUCH THE SKY where they will make their Singapore debut, Sep 11th at the World’s Highest Alfresco Bar, 1-Altitude.

Press Release from Syndicate:
Come Saturday 4 September 2010, Syndicate plays host to genre-defying beat-maker, Free the Robots. Much like his Los Angeles contemporaries such as Flying Lotus, Nosaj Thing & The Glitch Mob, Free the Robots has been reaching out to a worldwide audience due to the constant development of his sound and live shows.

An artist who knows no boundaries, Free the Robots pulls together heavy doses of traditional jazz, psychedelic rock, electronica and hip hop with progressive melodies and devastating drums into a rich pot of sound. His techniques create harmony between genres with the blending of obscure samples within analog and digital compositions.

His debut full length release, “Ctrl Alt Del”, has been critically acclaimed and is a must-have for hip hop heads, dubstep lovers and fans of electronica.

Free the Robots live performances are known for creating a balance between the sounds of the past, present & future with the use of samples, controllers and other live instruments. Expect a set of button-pushing & knob-twiddling madness filled with surprising samples for that true boom-bap experience and the irresistible nods.

Syndicate will also feature its first hip hop act of the year with TheCrazy88. Fresh from dropping their self-titled EP, this emceeing duo seems set to lay the standard for the future of hip hop in Singapore. They are also known for their amped-up and dynamic performances.

Keeping up the beats for the night will be guest DJ Twinhed and Syndicate residents, Max Lane & Darren Dubwise with Rafi Dean on the visuals.

Returning as a partner for this special Syndicate installment is the most iconic name in street culture, Obey. Known for their camaraderie with the Low End Theory crew in Los Angeles in which Free the Robots is part of, Obey sustains its radical ideas by supporting Syndicate’s revolutionary movement here in Singapore.

1. Fan-Funding Campaigns
2. Metrics
3. Social Currency
4. Geolocation Marketing
5. Streaming Video (we’ll be doing this for TOUCH THE SKY!)

For full explanation of these trends click here

This goes on sale Sep 13th and 14th 2010. Just after TOUCH THE SKY. Nice.

Here’s a snapshot of the cap with the BP3 logo stitched on the side. (source: www.hiphopwired.com)

Here’s a TEDx talk at USC by Johanna Blakley entitled Lessons from fashion’s free culture.



Those of you who have had this chat with me, probably will remember that I akin songwriting to home-building. When you write a song and complete it, you have built a house – a piece of property. This property is an intellectual property. It is an asset. And you need to understand that you have every right and reason to protect, improve, and extend the comforts of your home to others – for free, or at a price; that’s up to you.

So best first is to understand what are your rights to your property currently afforded to you by law. I will start my 5-part series here and use articles written by experts and veterans of the industry. And we’ll begin with this thorough this article on Tunecore by George Howard who was the former president of Rykodisc. He currently advises numerous entertainment and non-entertainment firms and individuals. Additionally, he is the Executive Editor of Artists House Music and is a Professor and Executive in Residence in the college of Business Administration at Loyola, New Orleans.

6 EXCLUSIVE RIGHTS

When you create a copyright, you are immediately and automatically granted six exclusive rights. As set forth in Title 17, Chapter 1 §106 of the United States Code They are as follows:

1. to reproduce the copyrighted work in copies or phonorecords [In layman’s terms, a “phonorecord” is a material object that embodies sounds (a CD, a cassette, vinyl, etc.). Importantly, a phonorecord is not the embodiment of sound when it is synchronized with a movie, tv show or ad.]
2. to prepare derivative works based upon the copyrighted work;
3. to distribute copies or phonorecords of the copyrighted work to the public by sale or other transfer of ownership, or by rental, lease, or lending;
4. in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works, to perform the copyrighted work publicly;
5. in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work, to display the copyrighted work publicly; and
6. in the case of sound recordings, to perform the copyrighted work publicly by means of a digital audio transmission.

And below is the Singapore Law on the subject if you’re wondering, Copyright Act, Part III, Division 1, §26 (lawyers out there, please correct me if I’m referencing this wrong!):

For the purposes of this Act, unless the contrary intention appears, copyright, in relation to a work, is the exclusive right —
(a) in the case of a literary, dramatic or musical work, to do all or any of the following acts:
(i) to reproduce the work in a material form;
(ii) to publish the work if the work is unpublished;
(iii) to perform the work in public;
(iv) to communicate the work to the public;
(v) to make an adaptation of the work;
(vi) to do, in relation to a work that is an adaptation of the first-mentioned work, any of the acts specified in relation to the first-mentioned work in sub-paragraphs (i) to (v);

A little different, and ordered different from our American counterparts. Yet, suffice to say, all six mentioned above, are your rights here in Singapore as well.?

So… now, on to the real meat of this post… PART 1: The Right to Reproduce by George Howard.

Watch the Music Video here:

UPDATE: Check out Monkey Kings’ remix here