@littlekidsrock: Three Quarters of Chicago Public School Music Programs to Benefit from Expansion of Innovative Music Classes

If you have ever heard the music of Taylor Swift, Beyoncé, or Bruno Mars rising from a Chicago Public School (CPS) music classroom, chances are that you have heard one of the district’s 144 Modern Bands in action. Thanks to a new philanthropic investment of over $2,000,000 worth of instruments, curriculum and professional development, the number of Chicago schools offering these classes is set to double over the next five years and more than 100,000 students in 300 CPS schools will benefit from the district’s new initiative.

On February 28, CPS will announce the expansion of its partnership with national nonprofit Little Kids Rock. The nonprofit is making one of the largest investments ever into CPS by a partner organization. Approximately 320 of the 397 CPS sites that offer music programming will benefit from this expansion of the district’s Modern Band programs. The announcement celebrates the near decade-long partnership of CPS and Little Kids Rock, and the work that this expansion will facilitate. Guest speakers and a special performance by Modern Band students from Franklin Fine Arts Academy will be featured.

Modern Band programs teach kids the popular musical styles of the past 60 years including rock, reggae, hip-hop, Latin and other genres. The method focuses on improvisation, composition, and getting kids to play the music they know and love. Modern Band is a burgeoning national movement and many school districts across the country are adding it to their roster as a means of getting more kids involved in music.

The federal government recently declared music as an important part of a “well-rounded education” in the Every Student Succeeds Act stating that it must be taught to all students “… regardless of their personal circumstances.”

To understand how a culturally relevant music program can affect students, one needs to look no further than our nation’s own musical history. “We should look at the place that jazz music now has in our society, our schools, and our curricula,” said Evan Plummer, Director of Arts Education for Chicago Public Schools. “Jazz, once a marginalized musical genre, is now part of the canon, and student engagement in jazz is sustained. We now have the chance to bring popular music into our schools. It brings a sense of cultural relevance to our diverse sets of students within the district.”

“Modern Band helps school districts build music programs that are diverse as the children they serve,” says David Wish, CEO and Founder of Little Kids Rock. “We are proud to have been working work with ChicagoPublic Schools since 2008 to bring the transformational gift of music to more students. We are honored to help them double the size of their Modern Band programming over the next five years.”

WHAT: Chicago Public Schools and Little Kids Rock hold a special announcement event to reveal the expansion of Moden Band programming to 100,000 students in 300 schools.

Read the press release here

@TVBroadast: @ajitpaifcc: No More Consent Decrees Without a Vote

[Maybe the DOJ should do the same with Congress–starting with ASCAP & BMI.]

Federal Communications Commission Chairman Ajit Pai is on a process-reform roll. The chairman declared that henceforth the commissioner’s will vote on consent decrees, which are now at the discretion of the chief of the Enforcement Bureau and the chairman’s office. Consent decrees are generally entered into by parties that have been fined by the commission.

“One of the ways in which the FCC’s Enforcement Bureau resolves an investigation is by entering into a consent decree, in which the party being investigated agrees to comply with certain terms in exchange for the government closing its inquiry,” Pai said in an emailed statement.“But over the past few years, in cases in which the full commission has previously voted to propose and/or impose a forfeiture, such consent decrees have generally not been presented to the commissioners for a vote. Instead, they have simply been signed by the chief of the Enforcement Bureau at the direction of the chairman’s office. Indeed, many times, commissioners were barely given any notice of such consent decrees before they were publicly released by the Bureau.

“That abuse of process ends now. If commissioners vote to propose and/or impose a forfeiture, the Enforcement Bureau should not settle that matter without their approval.

Read the post on TV Technology

@lucas_shaw: Facebook Tries to Offer Music Labels a YouTube Alternative

[More news from royalty deadbeat Facebook trying to mimic royalty deadbeat YouTube for the same old shite revenue share deal.  Are we going to get the okie doke hillbilly deal yet again?]

The world’s largest social network has redoubled its efforts to reach a broad accord with the industry, according to interviews with negotiators at labels, music publishers and trade associations. A deal would govern user-generated videos that include songs and potentially pave the way for Facebook to obtain more professional videos from the labels themselves….

Facebook’s interest in music rights is inextricably linked to its growing interest in video. Having siphoned ads away from print, online companies have recently targeted TV, which attracts about $70 billion in advertising a year. While Facebook faces competition from Twitter Inc. and Snapchat Inc., its main rival is Google, and music is one of the most popular types of videos on Google’s YouTube service. Facebook declined to make an executive available for an interview.

Read the post on Bloomberg

@allaccess: @musicFIRST Executive Director Chris Israel Calls for Fair Treatment of pre-72 Artists

MUSICFIRST Executive Director CHRIS ISRAEL commented yesterday regarding current copyright laws on pre-1972 music.

He said, “Consumers’ preferences for how they access music have changed dramatically in recent years. Sadly, our copyright system hasn’t kept pace. Our antiquated laws treat artists’ works differently depending on the platform we’re using to listen to their recordings. While the inadequacies of our system are evident every day, TODAY (2/15) marks the 44th anniversary of one of our system’s most egregious flaws.

Thanks to a quirk in U.S. law, songs recorded before this date in 1972 do not have federal copyright protection, and that is a huge problem. Up to 15% of all the music on some digital radio services was recorded before FEBRUARY 15, 1972. Streaming, satellite and FM radio have entire channels dedicated to this iconic music, yet this anomaly in U.S. law allows them to use pre-72 music without requiring them to compensate  the artists whose recordings they play on the air.

Many older artists have been forced to pursue fair compensation in a variety of state courts. This is extremely inefficient, unfair and unnecessary. Simple legislation will address this clear problem.

[The NAB royalty deadbeats had no comment.]

Read the post on AllAccess

@thetrichordist: An Independent Copyright Office! Radical Copyleft and @ALALibrary Overreach Backfires

Reps Marino, Chu and Comstock just released text to house bill that would make the Copyright Office (mostly) independent from the Library of Congress. This is a good thing for authors, photographers, filmmakers and songwriters. And it’s all thanks to aggressive overreach by radical copyleft academics and librarians. Let me explain. Over the last decade once stodgy […]

via An Independent Copyright Office! Radical Copyleft and @ALALibrary Overreach Backfires — The Trichordist

#IRespectMusic: It’s Time for the New Congress to get Serious About the Performance Right for Artists

Friends don’t let friends get LRFA’d. Once again we’ve started a new session of Congress with really old news–the National Association of Broadcasters is yet again circulating the reactionary Local Radio Freedom Act (or the grammatically challenged “LRFA”) that’s been warmed over and served up again from the last Congress. LRFA’s purpose is twofold. Get […]

via #IRespectMusic: It’s Time for the New Congress to get Serious About the Performance Right for Artists — Music Tech Solutions

@playback_austin: The Westin Sues the Nook Over Sound

Credit Austin’s music community with this: We’re exceptional at outrage.

Hackles shot up last week when news broke that the Westin had filed a $1 million lawsuit against nearby Sixth Street bar the Nook over loud music. Typically, the nightlife demographic channeled its ire digitally, bombarding the hotel’s Facebook page with one-star reviews. One clever hacker changed the hotel’s Google business listing to “crusher of local music venues.”

Meanwhile, down at City Hall, District 9 Council Member Kathie Tovo received zero calls and exactly three emails about it.

As usual, internet outrage proves more therapeutic than constructive. Like a tree falling in the forest, if 1,000 voices melt down online, does it make a sound at the civic level? What Austin needs now more than ever is policy protecting existing music venues from being threatened by new developments.

In fact, one such policy recommended in Mayor Steve Adler‘s Omnibus Resolution, the Agent of Change Principle, resolves neighborly dynamics based on who was there first. For example, a new condo built next to a club must soundproof accordingly – and vice versa.

Read the post by Kevin Curtin on The Chronicle and sign the petition here to support the Nook in its fight against Westin Hotels.