DISCLAIMER: Music files shared here are for sampling purposes only and are intended to bring joy to music lovers. I strongly believe that music-sharing results in more awareness for artists and as a result, more revenue. If your music is featured in a Share Me Sunday post and you are opposed to this sharing philosophy, please email me at info@shinydotbulletin.com and I will take the file down right away. Respect.
On July 28, 2008, ADM issued two sets of standards and guidelines: Advertisement Unit Standards and Downloadable Measurement Guidelines.
These guidelines and standards arose from the collaborative effort of our representative committees and an open comment period in which the entire online community was invited to provide feedback and input.
Advertisement Unit Standards
Final Version issued July 28, 2008. PDF Download
The purpose of the Advertisement Unit Standards is to provide baseline recommendations for advertisement units in order to better facilitate advertising transactions relating to downloadable media.
Download Measurement Guidelines
Final Version issued July 28, 2008. PDF Download
The purpose of the Download Measurement Guidelines are to establish baseline recommendations for how individual publishers, companies and organizations can measure how downloads are delivered to consumer audiences.
via RollingStone: “Details about David Byrne and producer Brian Eno’s collaboration album have emerged, as the duo launched a new site today. The album, entitled Everything That Happens Will Happen Today, will be released in August strictly through the album’s official website. As Byrne says in a video on the page, Eno wrote the music and Byrne wrote the lyrics. Everything That Happens will be streamed for free in its entirety upon its release, with physical and digital copies available for purchase. If you sign up for updates at the page, you’ll also be sent a free MP3 of one of the songs on August 4th. Additionally, Byrne will go on a tour that prominently features his previous collaborations with Eno, including their three Talking Heads albums together and their 1981 album My Life in the Bush of Ghosts. Dates for that tour will be announced soon.”
Drowning Out the Big Labels
Some indies are selling more records than ever while the majors limp along
by Jon Fine
This is how crazy the music business is right now. Certain veteran independent labels, which in some cases spent the 1990s alternating between slamming the majors and begging them for emergency funding, are starting to look as if they know what they’re doing.
The grievous state of selling music is well annotated, with total album sales falling 11% in the first half of ‘08. Major labels struggle to keep platinum sellers (acts that sell a million units) from backsliding to gold (500,000 units) or worse. But some smaller labels—among them Sub Pop, Merge, and Matador—have hit a pocket of relative prosperity, with many of their top stars selling more records than ever.
Seattle’s Sub Pop, famed for signing a then-unknown trio called Nirvana in the late ’80s and long adept at minting a hit moments before the label’s lights went out, has recently notched three gold records. One of them, The Postal Service’s Give Up, is nearing platinum. Another, the Shins’ Wincing the Night Away, debuted at No. 2 on Billboard. This, for a label and milieu in which selling 50,000 records was once considered an ungodly feat.
According to Sub Pop, in 2007 it posted record revenues, which rose 79%, to around $20 million—14% from licensing its bands’ music to advertisers and entertainment properties. It also sold more records in ‘07 than in any other year. (Sub Pop is private, so these figures cannot be independently confirmed. Some executives familiar with similar labels say that revenue level sounds high. And—disclosure—I play guitar on one Sub Pop release.)
Canadian Industry Minister Jim Prentice introduced Bill C-61, which many have dubbed the Canadian DMCA, in June 2008. There was an immediate outcry from thousands of Canadians concerned that the bill would render illegal every day activities and harm both consumers and businesses.
The C-61 in 61 Seconds video competition is one way that you can speak out. Just post your video as a response to this video. We will post the best videos on the FairCopyright4Canada channel. Deadline for submission is September 1st. A great panel of judges that includes the Barenaked Ladies Steven Page and Ontario Privacy Commissioner Ann Cavoukian will select the best of the best. The winners will be announced on September 15th.
To make sure that your voice for fair copyright in Canada is heard, be sure to write to your MP, the Minister, and join the Fair Copyright for Canada Facebook group today.
What album from 2007 was the least-reviewed and most-underrated?
The Charm and the Strange by Simon Wilcox. Even Larry LeBlanc thinks so:
“Simon Wilcox is an astounding find. On the first listen to her third release I had the same reaction to when I first head the recorded debuts of Kate Bush and Mary Margaret O’Hara as well as to hearing any Van Morrison album in the ’70s. She has recorded a classic work.”
“In 1969, a 14-year-old Beatle fanatic named Jerry Levitan, armed with a reel-to-reel tape deck, snuck into John Lennon’s hotel room in Toronto and convinced John to do an interview about peace. 38 years later, Jerry has produced a film about it. Using the original interview recording as the soundtrack, director Josh Raskin has woven a visual narrative which tenderly romances Lennon’s every word in a cascading flood of multipronged animation. Raskin marries the terrifyingly genius pen work of James Braithwaite with masterful digital illustration by Alex Kurina, resulting in a spell-binding vessel for Lennon’s boundless wit, and timeless message.”
POLARIS MUSIC PRIZE ANNOUNCES 2008 SHORTLIST FOR BEST CANADIAN ALBUM
Steve Jordan, Founder and Executive Director of the Polaris Music Prize, today revealed the Short List of 10 Canadian albums eligible for the third annual $20,000 award.
“The Sub Pop Singles Club is back, all tan and rested after a shockingly long sabbatical. It is a somewhat louche, world-weary thing with its eye on your wallet. And, for a price, The Sub Pop Singles Club is ready and willing to satisfy you aurally in ways you never dreamed possible.
Without further pandering, here are the facts!
Fact 1!
This run of The Sub Pop Singles Club will run for 1 year only, before returning to its secret island vacation spot for eternity (or until we here at Sub Pop feel masochistic enough to take on coordinating this debacle again.)”
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