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SoundLust Hot Music Gift Givers – No. 24

Temple — Wed, 01 Dec 2010 23:13:52 +0000

CD. 24 Bruno Mars – Doo-Wops & Hooligans

Since few people pay attention to the charts any more, you may not know this guy had a number one song this year (or that he co-wrote Flo Rida’s “Right Round.”) Or you might. His first CD highlights, in a welcoming complexity, his mind. Bruno (first known as Peter Hernandez) finds a way to sing about anything. He’s not smooth, unless he needs to be. He’s not rough, unless he wants to be. He’s not He is 25. The album title, it makes sense.

24. Jackson Browne tickets.

He starts his Solo Acoustic tour February 23 in Santa Cruz, staying mostly in California early on. It comes oddly timed, years after the 2005 and 2008 release (iTunes link) of Solo Acoustic volumes 1 and 2, respectively. Acousticly speaking, Browne rivals Dylan for putting meaning in lyrics that resonate and flash into your consciousness when you least expect it – and most need it.

Browne, a part of the music-scape for nearly 30 years, was on tour this year with his longtime collaborator David Lindley, both to the front of the stage. Live, he can still make emotions soar. Yours and a special friend.

Feb. 23
Santa Cruz, CA — Santa Cruz Civic Auditorium

Feb. 25
Santa Barbara, CA — Arlington Theatre

Feb. 26
Bakersfield, CA — Bakersfield Fox Theatre

Mar. 1
Santa Rosa, CA — Wells Fargo Center for the Arts

Mar. 2
Sacramento, CA — Sacramento Community Center Theater

Mar. 4
Phoenix, AZ — Comerica Theatre

Mar. 5
Temecula, CA — Pechanga Casino

Mar. 8
Long Beach, CA — Terrace Theatre

Mar. 9
Thousand Oaks, CA — Fred Kavli Theatre/Thousand Oaks Civic Arts Plaza

Apr. 3
Thunder Bay, Ontario, Canada — Thunder Bay Community Auditorium

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We want to help you shop for the things that will get noticed, get used and always be appreciated. We’re going to hit you with a gift idea for the next 24 days leading up to Christmas. We’ll have a CD selection and a, well, something else, selection each day.

(SoundLust is not being paid to endorse anything here. It’s randomness with a purpose – eclectic gifts for the mixed up music mind.)

SoundLust Hot Music Gift Givers – No. 25

Temple — Wed, 01 Dec 2010 06:51:54 +0000

We want to help you shop for the things that will get noticed, get used and always be appreciated. We’re going to hit you with a gift idea for the next 25 days leading up to Christmas. We’ll have a CD selection and a, well, something else, selection each day.

25 CD. – Sinead O’ Connor, Universal Mother. The voice of an angel, the attitude of a fallen angel. She tackles domestic violence and motherhood.

25. Keytars – Don’t fret, these key cases mean your keys will always hit the right note. Rock out with your lock out (Category: Stocking Stuffer) I bought them at a comic store but you might want to try to buy at Neato Shop or Amazon

(SoundLust is not being paid to endorse anything here. It’s randomness with a purpose – eclectic gifts for the mixed up music mind.)

St. Cecilia, Patron of Musicians — Thank You

Temple — Mon, 22 Nov 2010 19:57:47 +0000

We owe a lot to St. Cecilia, the patron saint of music without her, music wouldn’t exist, the world would be dark and dreary, and the tuneless and tone deaf would reign.

The 17th-Century Cecilia played every instrument and her voice challenged the souls of angels, her ear finely tuned enough to hear them sing back. Why do patron saints exist? Just to be able to wear the medallion it seems? Simon and Garfunkel sang of her, as if she would be a muse.

Cecilia, apparently wanted to keep her virginity for her wedding night, but wasn’t able to keep her life as she was discovered in Italy to be a mere Christian rather than a Roman Catholic. Killed in 177 A.D. her reputation if not her corporeal body, was resurrected in 1599. Nov. 22 is the day her body was re-interred after being discovered at the church bearing her name, St. Cecilia in Trastevere.

A statue was crafted to commemorate the event, with this inscription from the sculptor: “Behold the body of the most holy virgin, Cecilia, whom I myself saw lying uncorrupt in her tomb. I have in this marble expressed for thee the same saint in the very same posture and body.”

And my first paragraph? Pure bullshit, but it’s fun to think of someone with so much power to change the music world. You know, other than Steve Jobs.

Cecilia, you’re breaking my heart
You’re shaking my confidence daily
Oh, Cecilia, I’m down on my knees
I’m begging you please to come home
Come on home

Jubilation, she loves me again,
I fall on the floor and I’m laughing,
Jubilation, she loves me again,
I fall on the floor and I’m laughing
- Simon & Garfunkel, Cecilia

The Reasoning, The Fleece and Firkin, Bristol, 12-Nov-2010

Tim Hall — Mon, 22 Nov 2010 17:35:53 +0000

“And then there were five”, said Rachel Cohen at the start of The Reasoning’s gig at The Fleece and Firkin in Bristol, England. The departure of guitarist, vocalist and founder member Dylan Thompson on the eve of the tour came as something as a shock. The band’s decision to rehearse and tour as a five-piece rather than postpone the tour was a brave one, which left quite a few people wondering quite how they’d reproduce much of their complex multi-layered material live. So I set out to for Bristol, a new venue for me, not quite knowing what to expect from them.

As soon as they took the stage and launched into the prog-metal of “Dark Angel” it was clear that they’d pulled it off. Far from having obvious holes in the sound, the slimmed-down incarnation of The Reasoning simply gives each of the musicians more space. Less was indeed more. As they always have been, the band were both tight and had a really high energy level.

Naturally they played a much rearranged setlist, dropping many of the songs that relied on Dylan’s lead vocals in favour of songs with Rachel singing lead. So we saw the return of songs like “Within Cold Glass” from their first album, and the first UK appearance of the Dream Theater-esque 14 from their most recent album Adverse Camber. Keyboardist Tony Turrell, who has previously only sung backing vocals, took the male lead vocal on “Awakening” and “A Musing Dream”, while Matt Cohen, who’d previously not been let near a microphone, added some backing vocals. Owain Roberts did a superb job as sole guitarist, nailing the solos he hadn’t previously played. Tony Turrell’s keys weren’t always that prominent in the mix, but his solo spot, with sections of Fish’s “Plague of Ghosts” and bits of assorted Marillion tunes went down extremely well with a certain section of the crowd.

As one of the band said, when their backs are against the wall, they come out fighting. The slimmed-down Reasoning still rock, and it will be interesting to hear where they go next, especially when they return to the studio.

Photo by Tim Hall/© Tim Hall

Legal language, Latest 10.1 iTunes

Temple — Mon, 15 Nov 2010 17:22:28 +0000

(Soundlust.com likes to provide the latest Software Licensing Agreements – the exact SLA – for the programs people use regularly, to keep a record and to hopefully provide use if matters and language changes)

— — —
This is what’s new:
What’s new in iTunes 10.1

• Use AirPlay to instantly and wirelessly stream videos from iTunes to the all-new Apple TV.

• Sync with your iPhone, iPad, or iPod touch with iOS 4.2.

• Provides a number of important stability and performance improvements.

— — — — — —
ENGLISH

IMPORTANT NOTE REGARDING PING. We have changed the iTunes Store Terms and Conditions to provide you notice that if you have opted in to the Ping social network and use the new Ping Sidebar, iTunes will send information to Apple about the content you select in your iTunes library in order to provide you with Ping personal recommendations. By using Ping, you agree to Apple’s use of such information. If you do not want iTunes to send this information to Apple for Ping, you may hide the Ping Sidebar or opt out of Ping.

APPLE INC.
SOFTWARE LICENSE AGREEMENT FOR iTUNES

PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (“LICENSE”) CAREFULLY BEFORE USING THE APPLE SOFTWARE. BY USING THE APPLE SOFTWARE, YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE. IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE, DO NOT USE THE SOFTWARE. IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE, YOU MAY RETURN THE APPLE SOFTWARE TO THE PLACE WHERE YOU OBTAINED IT FOR A REFUND. IF THE APPLE SOFTWARE WAS ACCESSED ELECTRONICALLY, CLICK “DISAGREE/DECLINE”. FOR APPLE SOFTWARE INCLUDED WITH YOUR PURCHASE OF HARDWARE, YOU MUST RETURN THE ENTIRE HARDWARE/SOFTWARE PACKAGE IN ORDER TO OBTAIN A REFUND.

IMPORTANT NOTE: This software may be used to reproduce materials. It is licensed to you only for reproduction of non-copyrighted materials, materials in which you own the copyright, or materials you are authorized or legally permitted to reproduce. This software may also be used for remote access to music files for listening between computers. Remote access of copyrighted music is only provided for lawful personal use or as otherwise legally permitted. If you are uncertain about your right to copy or permit access to any material you should contact your legal advisor.

1. General. The software, documentation and any fonts accompanying this License whether on disk, in read only memory, on any other media or in any other form (collectively the “Apple Software”) are licensed, not sold, to you by Apple Inc. (“Apple”) for use only under the terms of this License, and Apple reserves all rights not expressly granted to you. The rights granted herein are limited to Apple’s and its licensors’ intellectual property rights in the Apple Software and do not include any other patents or intellectual property rights. You own the media on which the Apple Software is recorded but Apple and/or Apple’s licensor(s) retain ownership of the Apple Software itself. The terms of this License will govern any software upgrades provided by Apple that replace and/or supplement the original Apple Software product, unless such upgrade is accompanied by a separate license in which case the terms of that license will govern.

2. Permitted License Uses and Restrictions.
A. This License allows you to install and use the Apple Software. The Apple Software may be used to reproduce materials so long as such use is limited to reproduction of non-copyrighted materials, materials in which you own the copyright, or materials you are authorized or legally permitted to reproduce. You may not make the Apple Software available over a network where it could be used by multiple computers at the same time. You may make one copy of the Apple Software in machine-readable form for backup purposes only; provided that the backup copy must include all copyright or other proprietary notices contained on the original. Except as and only to the extent expressly permitted in this License or by applicable law, you may not copy, decompile, reverse engineer, disassemble, modify, or create derivative works of the Apple Software or any part thereof. THE APPLE SOFTWARE IS NOT INTENDED FOR USE IN THE OPERATION OF NUCLEAR FACILITIES, AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS, AIR TRAFFIC CONTROL SYSTEMS, LIFE SUPPORT MACHINES OR OTHER EQUIPMENT IN WHICH THE FAILURE OF THE APPLE SOFTWARE COULD LEAD TO DEATH, PERSONAL INJURY, OR SEVERE PHYSICAL OR ENVIRONMENTAL DAMAGE.

B. VoiceOver Kit – Automatic Updates. When you are using VoiceOver Kit version 1.3, the Apple Software will periodically check with Apple for updates to the pronunciation rules used by VoiceOver to generate the spoken items that you hear when you have VoiceOver selected. If a pronunciation update is available, the update will automatically download onto your computer, and when you have VoiceOver selected, the new version of the spoken items will be generated and synced to your iPod. The older version of the spoken items will no longer be available. These automatic updates will not change the actual media content (e.g., music, video, podcasts) on your iPod or in your iTunes library.

3. Transfer. You may not rent, lease, lend, redistribute or sublicense the Apple Software. You may, however, make a one-time permanent transfer of all of your license rights to the Apple Software to another party, provided that: (a) the transfer must include all of the Apple Software, including all its component parts, original media, printed materials and this License; (b) you do not retain any copies of the Apple Software, full or partial, including copies stored on a computer or other storage device; and (c) the party receiving the Apple Software reads and agrees to accept the terms and conditions of this License.

4. Consent to Use of Data. You agree that Apple and its subsidiaries may collect and use technical and related information, including but not limited to technical information about your computer, system and application software, and peripherals, that is gathered periodically to facilitate the provision of software updates, product support and other services to you (if any) related to the Apple Software and to verify compliance with the terms of this License. Apple may use this information, as long as it is in a form that does not personally identify you, to improve our products or to provide services or technologies to you.

5. iTunes Store and other Services. This software enables access to Apple’s iTunes Store which offers downloads of music for sale and other services (collectively and individually, “Services”). Use of the Services requires Internet access and use of certain Services requires you to accept additional terms of service which will be presented to you before you can use such Services.

By using this software in connection with an iTunes Store account, you agree to the latest iTunes Store Terms of Service, which you may access and review from the home page of the iTunes Store.

You understand that by using any of the Services, you may encounter content that may be deemed offensive, indecent, or objectionable, which content may or may not be identified as having explicit language. Nevertheless, you agree to use the Services at your sole risk and that Apple shall have no liability to you for content that may be found to be offensive, indecent, or objectionable. Content types (including genres, sub-genres and Podcast categories and sub-categories and the like) and descriptions are provided for convenience, and you acknowledge and agree that Apple does not guarantee their accuracy.

Certain Services may include materials from third parties or links to certain third party web sites. You acknowledge and agree that Apple is not responsible for examining or evaluating the content or accuracy of any such third-party material or web sites. Apple does not warrant or endorse and does not assume and will not have any liability or responsibility for any third-party materials or web sites, or for any other materials, products, or services of third parties. Links to other web sites are provided solely as a convenience to you. You agree that you will not use any third-party materials in a manner that would infringe or violate the rights of any other party, and that Apple is not in any way responsible for any such use by you.

You agree that the Services, including but not limited to graphics, audio clips, and editorial content, contain proprietary information and material that is owned by Apple and/or its licensors, and is protected by applicable intellectual property and other laws, including but not limited to copyright, and that you will not use such proprietary information or materials in any way whatsoever except for permitted use of the Services. No portion of the Services may be reproduced in any form or by any means. You agree not to modify, rent, lease, loan, sell, distribute, or create derivative works based on the Services, in any manner, and you shall not exploit the Services in any unauthorized way whatsoever, including but not limited to, by trespass or burdening network capacity.

Apple and its licensors reserve the right to change, suspend, remove, or disable access to any Services at any time without notice. In no event will Apple be liable for the removal of or disabling of access to any such Services. Apple may also impose limits on the use of or access to certain Services, in any case and without notice or liability.

6. Termination. This License is effective until terminated. Your rights under this License will terminate automatically without notice from Apple if you fail to comply with any term(s) of this License. Upon the termination of this License, you shall cease all use of the Apple Software and destroy all copies, full or partial, of the Apple Software.

7. Limited Warranty on Media. Apple warrants the media on which the Apple Software is recorded and delivered by Apple to be free from defects in materials and workmanship under normal use for a period of ninety (90) days from the date of original retail purchase. Your exclusive remedy under this Section shall be, at Apple’s option, a refund of the purchase price of the product containing the Apple Software or replacement of the Apple Software which is returned to Apple or an Apple authorized representative with a copy of the receipt. THIS LIMITED WARRANTY AND ANY IMPLIED WARRANTIES ON THE MEDIA INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, OF SATISFACTORY QUALITY, AND OF FITNESS FOR A PARTICULAR PURPOSE, ARE LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF ORIGINAL RETAIL PURCHASE. SOME JURISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. THE LIMITED WARRANTY SET FORTH HEREIN IS THE ONLY WARRANTY MADE TO YOU AND IS PROVIDED IN LIEU OF ANY OTHER WARRANTIES (IF ANY) CREATED BY ANY DOCUMENTATION OR PACKAGING. THIS LIMITED WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS WHICH VARY BY JURISDICTION.

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14. Third Party Software and Service Terms and Conditions.
A. Gracenote® End User License Agreement
This application or device contains software from Gracenote, Inc. of Emeryville, California (“Gracenote”). The software from Gracenote (the “Gracenote Software”) enables this application to perform disc and/or file identification and obtain music-related information, including name, artist, track, and title information (“Gracenote Data”) from online servers or embedded databases (collectively, “Gracenote Servers”) and to perform other functions. You may use Gracenote Data only by means of the intended End-User functions of this application or device.

You agree that you will use Gracenote Data, the Gracenote Software, and Gracenote Servers for your own personal non-commercial use only. You agree not to assign, copy, transfer or transmit the Gracenote Software or any Gracenote Data to any third party. YOU AGREE NOT TO USE OR EXPLOIT GRACENOTE DATA, THE GRACENOTE SOFTWARE, OR GRACENOTE
SERVERS, EXCEPT AS EXPRESSLY PERMITTED HEREIN.

You agree that your non-exclusive license to use the Gracenote Data, the Gracenote Software, and Gracenote Servers will terminate if you violate these restrictions. If your license terminates, you agree to cease any and all use of the Gracenote Data, the Gracenote Software, and Gracenote Servers. Gracenote reserves all rights in Gracenote Data, the Gracenote Software, and the Gracenote Servers, including all ownership rights. Under no circumstances will Gracenote become liable for any payment to you for any information that you provide. You agree that Gracenote, Inc. may enforce its rights under this
Agreement against you directly in its own name.

The Gracenote service uses a unique identifier to track queries for statistical purposes. The purpose of a randomly assigned numeric identifier is to allow the Gracenote service to count queries without knowing anything about who you are. For more information, see the web page for the Gracenote Privacy Policy for the Gracenote service.

The Gracenote Software and each item of Gracenote Data are licensed to you “AS IS.” Gracenote makes no representations or warranties, express or implied, regarding the accuracy of any Gracenote Data from in the Gracenote Servers. Gracenote reserves the right to delete data from the Gracenote Servers or to change data categories for any cause that Gracenote deems sufficient. No warranty is made that the Gracenote Software or Gracenote Servers are error-free or that functioning of Gracenote Software or Gracenote Servers will be uninterrupted. Gracenote is not obligated to provide you with new enhanced or additional data types or categories that Gracenote may provide in the future and is free to discontinue its services at any time. GRACENOTE DISCLAIMS ALL WARRANTIES EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, TITLE, AND NON-INFRINGEMENT. GRACENOTE DOES NOT WARRANT THE RESULTS THAT WILL BE OBTAINED BY YOUR USE OF THE GRACENOTE SOFTWARE OR ANY GRACENOTE SERVER. IN NO CASE WILL
GRACENOTE BE LIABLE FOR ANY CONSEQUENTIAL OR INCIDENTAL DAMAGES OR FOR ANY LOST PROFITS OR LOST REVENUES.

B. Kerbango Tuning Service Terms and Conditions.
Terms of Service. By using 3Com Corporation’s (“3Com”) Kerbango tuning service, (“Kerbango Tuning Service”) you agree to be bound by the following terms and conditions (the “TOS”):

3Com Links. The sites displayed as search results or linked to by the Kerbango Tuning Service are owned and operated by individuals and/or companies over whom 3Com exercises no control. 3Com assumes no responsibility for the content of any site included in any search results or otherwise linked to by the Kerbango Tuning Service.

Personal Use Only. The Kerbango Tuning Service is made available for your personal, non-commercial use only. Use of the Kerbango Tuning Service to sell a product or service, or to increase traffic to your Web site for commercial reasons, such as advertising sales is expressly forbidden. You may not take the results from a Kerbango search and reformat and display them, or mirror the 3Com’s Kerbango home page or results pages on your Web site, or send automated queries to Kerbango’s system without express permission from 3Com.

If you wish to make commercial use of the Kerbango Tuning Service you must enter into an agreement with 3Com to do so. Please contact sales@kerbango.com for more information.

Changes In Terms and Conditions and Kerbango Tuning Service. 3Com may modify or terminate its services from time to time, for any reason, and without notice, including the right to terminate with or without notice, without liability to you, any other user or any third party. 3Com reserves the right to modify the TOS from time to time without notice.

Disclaimer of Warranties. 3Com disclaims any and all responsibility or liability for the accuracy, content, completeness, legality, reliability, or operability or availability of information or material displayed in the Kerbango Tuning Service results. 3Com disclaims any responsibility for the deletion, failure to store, misdelivery, or untimely delivery of any information or material. 3Com disclaims any responsibility for any harm resulting from downloading or accessing any information or material on the Internet through the Kerbango Tuning Service.

THE KERBANGO TUNING SERVICE IS PROVIDED “AS IS”, WITH NO WARRANTIES WHATSOEVER. 3COM EXPRESSLY DISCLAIMS TO THE FULLEST EXTENT PERMITTED BY LAW ALL EXPRESS, IMPLIED, AND STATUTORY WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT OF PROPRIETARY RIGHTS. 3COM DISCLAIMS ANY WARRANTIES REGARDING THE SECURITY, RELIABILITY, TIMELINESS, AND PERFORMANCE OF THE KERBANGO TUNING SERVICE. 3COM DISCLAIMS ANY WARRANTIES FOR ANY INFORMATION OR ADVICE OBTAINED THROUGH THE KERBANGO TUNING SERVICE. 3COM DISCLAIMS ANY WARRANTIES FOR SERVICES OR GOODS RECEIVED THROUGH OR ADVERTISED ON THE KERBANGO TUNING SERVICE OR RECEIVED THROUGH ANY LINKS PROVIDED BY THE KERBANGO TUNING SERVICE, AS WELL AS FOR ANY INFORMATION OR ADVICE RECEIVED THROUGH ANY LINKS PROVIDED IN THE KERBANGO TUNING SERVICE.

YOU UNDERSTAND AND AGREE THAT YOU DOWNLOAD OR OTHERWISE OBTAIN MATERIAL OR DATA THROUGH THE USE OF THE KERBANGO TUNING SERVICE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGES TO YOUR COMPUTER SYSTEM OR LOSS OF DATA THAT RESULTS IN THE DOWNLOAD OF SUCH MATERIAL OR DATA.

SOME STATES OR OTHER JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO THE ABOVE EXCLUSIONS MAY NOT APPLY TO YOU. YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY FROM STATE TO STATE AND JURISDICTION TO JURISDICTION.

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SOME STATES OR OTHER JURISDICTIONS DO NOT ALLOW THE EXCLUSION OR LIMITATION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATIONS AND EXCLUSIONS MAY NOT APPLY TO YOU.

Without limiting the foregoing, under no circumstances shall 3Com be held liable for any delay or failure in performance resulting directly or indirectly from acts of nature, forces, or causes beyond its reasonable control, including, without limitation, Internet failures, computer equipment failures, telecommunication equipment failures, other equipment failures, electrical power failures, strikes, labor disputes, riots, insurrections, civil disturbances, shortages of labor or materials, fires, floods, storms, explosions, acts of God, war, governmental actions, orders of domestic or foreign courts or tribunals, non-performance of third parties, or loss of or fluctuations in heat, light, or air conditioning.

Miscellaneous Provisions. These TOS will be governed by and construed in accordance with the laws of the State of California, without giving effect to its conflict of laws provisions or your actual state or country of residence. If for any reason a court of competent jurisdiction finds any provision or portion of the TOS to be unenforceable, the remainder of the TOS will continue in full force and effect.

These TOS constitute the entire agreement between the parties with respect to the subject matter hereof and supersedes and replaces all prior or contemporaneous understandings or agreements, written or oral, regarding such subject matter. Any waiver of any provision of the TOS will be effective only if in writing and signed by 3Com.

EA0676
Rev 9/22/10

Music-Marketing Tech: Twitter and Ping

Temple — Thu, 11 Nov 2010 22:50:03 +0000

It’s unusual to see Apple fail at anything (For those with long memories, let’s add “lately.”). However, its Ping “social network” function integrated within its iTunes, is awkward, to put it mildly. They probably will get a bump in sales, but since they usually have the end user experience so much to the forefront, it’s just sad to see them not put in the effort.

To get Ping to do anything, you have to do too much to get it to work. People listen to music, they don’t sit there and interact about the music as they’re listening. No not much. [For those who do, Soundlust is for you ]

As has been said elsewhere, as it’s set up now, it’s more about the commerce than the conversation. Too, you REALLY have to love a band to spend time online talking about them for any length of time with perfect strangers whose only connection to you is that night 7 years ago when you both attended the same “best concert ever” by The Defibrillators.

What am I talking about? If you have to ask you’re really not a Social Media junkie and need to work on that addiction. Today Twitter integrated with Ping in the same way it integrated with Blip.fm and Bing and Ting and Ling and Ving and anything else that sounds vaguely like an alert noise.

Songs you play or review or buy will get Tweeted out to Twitter. You can also play song previews within Twitter – but it doesn’t really work too well, yet. Wake me when The Twitter page can play the songs you’ve bought. But a lot of people think of those auto-generated Tweets as close to spam. And with Foursquare, Blip.fm and others – now Ping, automatically getting sent to Twitter, the percentage of actual conversation taking place is getting less and less.

Desert Bloom 3 Heavy On the Tunes

Temple — Tue, 21 Sep 2010 03:36:21 +0000

In the mix of sight and sound it was the music that took center stage Friday at the third creative explosion of painting and tunes at Gangplank. From hip-hop to techno to surf, Desert Bloom 3 rocked the mothership.

All the while, 10 artists focused on getting their visions on canvas, ready in time for an auction at the end of the evening.

The appropriately Twitter-handled @jackalert (AKA Jack Smith) broke out the beats first as the show started late. The rumble through the crowd said Dfactor – up next – impressed as they pumped out power-pop punk tunes.

Even the Red Bull gals made a quick appearance at Gangplank, handing out the free energy to a place that – at least in front of the canvas and behind the instruments – dripped it already. Gankplank is a tech-oriented, co-working location in Chandler, Arizona that also opens itself to community events. Desert Bloom was free to anyone who wanted to come and could move. (Disclosure, Desert Bloom is organized by guys who have become friends since I first wrote about and attended the last Desert Bloom back in July)

With “I’m Single” cards taped to their backs, Rebecca Burkhart and Amy Kopinski Donohue, shared a canvas and painted some of the first strokes of the evening. In simple terms, they had fun with cupcakes, and blue birds on a wire. Jamie Mulhern crafted a large owl next to Shannon Elizabeth Harden’s doll. Victor Moreno went all Pushead with his dripping zombie skull in white; Jay Fotos matched him with Frankenstein in perfectly simple white strokes and splatter spots.

It was not quite so traditionally gender-specific last time, but that’s the way it broke down Friday.

About the middle of the evening Sunday Morning Drive buried their usual acoustic mellow and offered an amped up version of off of last year’s self-titled release. They also threw in an inspired version of Gnarls Barkley’s “Crazy.” Talking to them after their well-received short set they said a slightly more aggressive sound was in their future (full interview later this week) with enough song to fill a few CDs worth.

Surfside IV was the most well-known of the bands. Given such “diva” status, they kept the crowd waiting; a crowd that nevertheless showed their enthusiastic support once the Fez-hatted ones fingered the first surfabilly notes.

Unfortunately, I left before Stern Savage and Consumer were scheduled to play. The hip-hop head Savage is gathering rep around Phoenix with mix tape releases and a label, Arizona Stronghold Music. Though he started in ’98 he took a hiatus to, as he describes it, bring something that he could be proud of back to the scene.

DJs and Bands (plus Twitter handles)
Jack Smith (@jackalert)
Dfactor (@Dfactor)
Sunday Morning Drive (@SMDBand)
Marvin Forte (@MarvinForte)
Surfside IV (@thesurfsideiv)
Stern Savage (@SternSavage)
Consumer (@Consumer)

Artists (plus Twitter Handles)
Rebecca Burkhart (@design_gal)
Tony Deschiney
Nicholas DiBiase (@hepnova)
Amy Kopinski Donohue (@thefabulousone)
Shannon Elizabeth Harden (@chanonista)
Jay Fotos
Victor Moreno (@victormoreno)
Jamie Mulhern (@maventheavenger)
Denny Riccelli (@dennmann17)
Christine Slomski (@LadySlomski)

Beats and Brushes: Desert Bloom 2 Opens Up Music, Visual Collaboration

Temple — Wed, 14 Jul 2010 23:26:11 +0000

“If it sounds too good to be true, it probably is.” You’ve heard that. It’s wise.

Also, occasionally wrong.

Desert Bloom, and all its sights and sounds, plans to show you just how wrong by setting things right. Friday, the event that seeks to meld music and art heats up for Round 2. It’s free.

“It’s not a music festival,” says organizer Brandon Franklin. “It’s a hybrid.”

Beats and Brushes: Desert Bloom 2, brings together eight artists Gabe Velez, Heather Kozan, Jamie Mulhern, Nicholas DiBiase, Shannon Elizabeth Harden, Tony Deschiney, Victor Moreno and Dumperfoo. They and the public will paint with oils, watercolor, spackle – anything sanitary – with a background setting of seven sound-shifting DJs: [forced future], offering electro, industrial, cyberpunk sounds; Consumer (jungle / d&b); Halfacat (dubstep, d&b); Matt X (downbeat); Molotrash (60s Soul, RnB, 80s dance); RayRay (house, breaks); and William Reed (punk, new wave, Britpop) In the mix is a Jay McGavren light show.

Anyone who walks through the front door will suddenly have to decide what to do with the paintbrush smacked down in their palm. The goal by the end of the evening is to have four complete, large scale murals to likely be auctioned, painted by the artists and the audience.

The venue is free. The venue is Gangplank, a space rapidly gaining attention to the connected or those connected to them. Starting out as a shared work area for tech companies to share costs, and just as importantly ideas. It continues to grow into something bigger — and striving not to be too good to be true.

“No one get’s a free lunch.”

You’ve heard that, too. Gangplank won’t give you lunch, but they’re big on free. Free form. Free association. Freedom of thought. And increasingly, free space for different communities to find new ways to collaborate and eat lunch. Or dinner. Or 3 am burritos.

Branching out into music is new for Gangplank founder Derek Neighbors and his crew. Gangplank recently hosted its first Open Mic night for musicians, July 9, with Kenny Bump and Morgan Benavidez setting the tone before the spontaneous took over.

“Virtually every culture around the world has some form of music regardless of how remote or isolated,” Neighbors wrote to SoundLust. “It is at the very core of our DNA.

“For us music is one of the bases to express creativity. Which makes it a cornerstone of bringing in a culture of collaboration/ innovation. People looking to create are inspired and driven by other creators. It only makes sense to have a building block like music supported to fuel creation.”

For Neighbors, support for growing Phoenix’s new economy comes about by “providing resources and outlets for all types of creatives.”

It’s within this freedom of space that Franklin, Brandon Mason, Greg Taylor and DiBaise started to believe their loose ideas for a hybrid clash of the arts could actually happen. Given a tour several months ago of Gangplank’s new digs in downtown Chandler (260 S. Arizona Ave.) Franklin said a planned recording studio, open to any style, and small-venue, high-end sound system seemed, well, too … perfect. But it set in motion Desert Bloom.

“I get teary-eyed just thinking about what they’re offering,” Franklin tells SoundLust. “It’s just ridiculous, ridiculous to even think of a free recording space. It’s unheard of but it’s going to happen.”

“[We] had one meeting with them and they ran with it,” Neighbors wrote. “Pretty much all planning and heavy lifting [was] done by them and volunteers. Amazing to see community passion in action.”

Desert Bloom happened for the first time in May to instant social media chatter and general acclaim. The plan is to hold the event several times a year, with each event offering a new sound, a new atmosphere. Always involving music and some other type of art.

Live music played at the first Desert Bloom. DJs, with no live singing or instruments will perform Friday, starting 7 pm. They’re behind the decks through “someone knowing someone,” Franklin says, adding that with the success of the first, it was easier to get people to step up this time.

“We put a call out for people wanting to change the face of music,” Neighbors said.

DiBiase is a Desert Bloom volunteer and one of the artists who’ll join in. He’s not at all used to painting with others.

“My usual process is to paint alone in the middle of the night, and generally without music as I get absorbed in the “story” of the painting as I create,” he responded in an email. “… I’ve collaborated with a single other painter before, but never with seven at once, and then a whole audience pitching in! It’s going to be much faster, more electric, and more athletic than my normal experience, by far.”

Who’ll play off the other more is difficult to figure out, but Franklin thinks the images in the music can’t help but find their way into the art. “They’ll supply a texture,” Franklin says. “I don’t want to get too esoteric, but that’s how it goes sometimes.”

photo by nooccar/Flickr, Creative Commons

• Edited to correct Gangplank address – 11:29, July 15.

More Bands Formally Join AZ Boycott Over SB1070

Temple — Tue, 06 Jul 2010 21:18:00 +0000

(PHOENIX) SoundLust e-mailed The Sound Strike the day our previous article on boycotting Arizona was originally published, June 24, asking for any other bands that had joined the boycott. The site had not been updated since May 25, the day the effort launched. We did not receive a reply, but last week the boycott group announced Nine Inch Nails and many others — now including non-musicians — had joined in.

Ben Harper, Chris Rock, Maroon 5 and others are boycotting Arizona in protest of state Senate Bill 1070, which, among other things, allows state DPS police to request papers of anyone they suspect is here illegally. Supporters of the bill say the law merely echoes a federal immigration law.

The list of boycotting artists and musicians is 198 (a couple of artists are repeated in the list.)

Our previous article highlighted Stateside Presents concert promoter Charles Levy and his open letter on the issue, encouraging artists to rethink their position, saying they were hurting people and fans with unintended consequences.

Friday, Bright Eyes lead singer Conor Oberst, a voice active in The Sound Strike, replied:

Dear Charlie,

I read your letter and I do understand where you are coming from. You bring up valid points.I personally regret any of the collateral damage the boycott is causing you, other like-minded arts promoters and the fans in Arizona. A boycott is, inherently, a blunt instrument. It is an imperfect weapon, a carpet bomb, when all involved would prefer a surgical strike. I agree with you in part, and the radio host you quoted, that the authors and supporters of SB1070 could give a shit whether or not my band, or any other Artist, ever plays Arizona again. The only thing, clearly, that these people care about is Money and Power, that and the creation and preservation of an Anglo-Centric Police State where every Immigrant and Non-White citizen is considered subhuman. They want them stripped of their basic human rights and reduced to slaves for Corporate America and the White Race. They are engaged in blatant class warfare. It is evil, pure and simple.

I have on many occasions spoken my mind from stage. I have offered organizations table space by the merch booth. I have donated a dollar-a-ticket, or the entire guarantee, to different causes. I have registered voters. I have played on behalf of political candidates. Sadly, this time, I fear none of that is enough. If I return to Arizona to pay lip service to a roomful of kids at the Marquee it will do absolutely no good for anyone. What I can do is to help organize, and play my small part in, what I hope is the largest and most effective boycott this country has seen in a long time. To work it will have to involve members from all sectors of society. The Sports Industry, the Entertainment Industry, the Tourism and Convention Industry, other State and City governments, private businesses and individuals from around the country and the world—all of whom, by the way, are already participating in the boycott. Much of the Artist end of the boycott is symbolic, I acknowledge, and no real threat to the economics of the State. But it is an important part none-the-less for awareness and messaging. The Boycott has to be so widespread and devastating that the Arizona State Legislature and Governor have no choice but to repeal their unconstitutional, immoral and hateful law. It has to hurt them in the only place they feel any pain, their pocketbooks.

What I would encourage you to do, if you haven’t already started, is to organize with all the local businesses you can to put as much pressure as possible on your State Government until the Law is repealed. An economic death rattle is the only cry of outrage they will hear.

I realize that the people of Arizona did not vote on SB1070 and I empathize with the anger and frustration you all must feel. I applaud what you are doing with Viva Arizona and do wonder if there might be a way to reconcile both our efforts while maintaining the integrity of each. After all, we are trying to achieve the same thing. But just as you may feel the boycott is an empty gesture, I fear that if we return to business as usual (under the guise of some civic movement) that this will all devolve into the typical grandstanding that is political activism in music. It might make us feel better but won’t do a damn thing to change the minds of the radical, racist minority that seem to have controlled Arizona politics for decades. In short, it will lose its teeth.

Just this past week, the little town of Fremont Nebraska passed a very similar, almost more radical, city ordinance. It was co-authored and championed by Kris Kobach of Kansas who helped write SB1070. I was outraged, saddened and embarrassed for their town and my state. I am already in the process of organizing a fund-raiser for the NE chapter of the ACLU who is suing the town of Fremont. Our situation requires immediate legal action and a campaign for public awareness (there has been very little press on this). Charlie, I promise you, if this Fremont law had been passed Statewide instead of in a rural town of 25,000 people, I would be the first to call for a boycott of my home state. This way of thinking and legislating is so dangerous, and such a threat to our basic ideals as Americans and Humans, that we cannot stand by and do nothing. We cannot play on as if nothing is wrong. This is not just about Arizona. I am not just skipping a tour date. This is not going to be easy for anyone.

Charlie, I consider you a friend and you have always been great to my bands and me. I have played for you many times and I hope to do so again soon in New Mexico or anywhere else. I sincerely look forward to the day when I can return to Arizona and this will all seem like a bad dream. But I can’t come back now. I’m sorry. I hope you will understand.

Your friend,
Conor Oberst

Popular Phoenix Blooze Bar Burns

Temple — Thu, 01 Jul 2010 19:53:09 +0000

Guitarist Aaron “Ump Ump” McCollum and The Earps played a show May 30, 2009 at The Blooze Bar.
©Temple Stark/Soundlust.com

ABC 15 reports that the Blooze Bar, burned to the ground last night after closing time in what appears to be an electrical accident. (It’s just down the street from where I’m sitting now.)

Owners Tumbleweed and Alaina Griffith run a great music venue; small stage but great sound – inviting all genres to take the stage and impress the crowd. Thankfully, it sounds like they’ll rebuild.