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This is the weblog of
Raymond Powers.
Here I will be sharing what I find of import, humor, concern, inspiration and on the transformational edge
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A Quote:
Let there be spaces in your togetherness.
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Raymond lives in Ojai, where the time now is:
05:19PM
Unique Readers:
Primarily
Public Domain
Everything I've written here, except my copyrighted
essays, poetry, lyrics, and music is hereby placed in the public
domain. The quotes from other people's writings, and the pictures
used might or might not be copyrighted, but are considered fair
use. Thus the license here would best be described as:
Primarily Public
Domain.
Please ask permission if there is any question in
regards to public domain usage.
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Syndication:
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Wander-Lust
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| Friday, June 27, 2003 |  |
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27 Jun 2003 @ 22:34
SUNDAY, June 29: "Axis of Culture" at Arts in Action
The Coalition for World Peace
presents
AXIS OF CULTURE
Sunday June 29 , 2003
6 - 10 pm at ARTS IN ACTION
1919 W. 7th St., 4th Fl. , Los Angeles, CA
Music, Poetry, Dance and Information
To experience cultures of the Middle East, Asia, Latin America and beyond.
Enjoy the mesmerizing sounds of the Hebrew, Sufi and Arabic music of Yuval Ron and his musicians, together with enchanting Belly Dancer Maya. Be stirred by the poetry of Emma Rosenthal, Saleem Azuka, Dima and others. Kublai Kwan brings Korean Rap elements to the mix.
Palestinian and Syrian speakers will help us understand the Middle East more deeply.
KPFK's own Sonali Kolhatkar will present songs and information about Afghanistan not available on Fox news!
Other surprise guests will add to an entertaining and informative evening. Come and be inspired by our variety program and savor delicious foods from far away places.
Donation $5 at the door
For further information call the Coalition for World Peace
323.653.3292
Coalition for World Peace
[link]
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 27 Jun 2003 @ 16:16
Guide to North American Bird Songs and Sounds
Remarkable in that it allows you to search by how the bird song sounds -- single note, double note, or complex song -- and then listen to the audio files.
This guide will help you identify songs and sounds of North American birds. As you step through the guide, you will be asked whether the sound was simple or complex, musical or harsh, etc, a set of choices of sound attributes. For each choice, a list of birds whose sounds conform to this description is given. If you select one of these and click the "Go" button, you will see a pointer to a sound file of that bird, a text description of the sound you will hear, and a sonogram of the sound.
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| Monday, June 23, 2003 | |
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23 Jun 2003 @ 05:11
Thank You to everyone who has helped make the first two quarters of 2003 a success.
My CD Heart of the Mother has slowly continued to receive great reviews, enthusiastic fans and online airplay not to mention raise funds for the Ojai Birth Resource and Family Center.
30% of each sale goes to benefit the center which teaches and informs parents about childbirth choices and infant care.
All of your support has been gratefuly received.
Thanks also for all of you who have taken the time to write and give me your feedback...
"An amazing experience. I won't do a birth without it. It should be in the kit of every midwife."
- Marilyn Ryan, Midwife
"Our whole office loves your music so much we put it on our intercom and call holding."
- Karen, Cascade Catalog
"Your gift is undeniable... Spirit has guided you and brought out the best of the best."
- Erial, Fine Artist
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| Tuesday, June 10, 2003 | |
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 10 Jun 2003 @ 09:14
I recently uploaded a large part of my catalog to My MP3.com Website.
There are now over forty pieces of my music to listen to or download for free. Enjoy.
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| Monday, May 19, 2003 | |
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 19 May 2003 @ 09:31
RIAA Apologizes For Threatening Letter
By Declan McCullagh
Staff Writer, CNET News.com
May 12, 2003, 3:16 PM PT
The Recording Industry Association of America apologized Monday to Penn State University for sending an incorrect legal notice of alleged Internet copyright violations.
The notice and subsequent apology appears to mark the first time that a faulty notification has been made public. The incident also shows just how easily automated programs that search for copyrighted material can be fooled, as well as how disruptive such notices can be on college campuses.
Last Thursday, the RIAA sent a stiff copyright warning to Penn State's department of astronomy and astrophysics. Department officials at first were puzzled, because the notification invoked the Digital Millennium Copyright Act and alleged that one of its FTP sites was unlawfully distributing songs by the musician Usher. The letter demanded that the department "remove the site" and delete the infringing sound files.
But no such files existed on the server, which is used by faculty and graduate students to publish research and grant proposals. Matt Soccio, the department's system administrator, said that he searched the FTP server "for files ending in mp3, wma, ogg, wav, mov, mpg, etc., and found nothing that would precipitate this complaint."
Except, that is, when Soccio realized two things. The department has on its faculty a professor emeritus named Peter Usher whose work on radio-selected quasars the FTP site hosted. The site also had a copy of an a capella song performed by astronomers about the Swift gamma ray satellite, which Penn State helped to design.
The combination of the word "Usher" and the suffix ".mp3" had triggered the RIAA's automated copyright crawlers.
In an e-mail sent after a query from CNET News.com, the RIAA said a temporary employee had caused the notice to be sent. "We have withdrawn, and apologize for, the DMCA notice that had been sent to Penn State University in error. In order to safeguard against errors like this one, we have individuals look at each and every notice we send out. In this particular instance, a temp employee made a mistake and did not follow RIAA's established protocol, and we regret any inconvenience this may have caused. We are currently reviewing any other notices this temp may have sent."
The RIAA confirmed that its policy does not require its Internet copyright enforcers to listen to the complete song that is allegedly infringing.
By way of additional apology, the RIAA said it will send Peter Usher an Usher CD and T-shirt "in appreciation of his understanding." An RIAA spokesman noted that the RIAA has sent out "conservatively tens of thousands of notices" in the last five years and that this incident to be the first error that has been discovered.
A representative of Penn State said Monday afternoon that the university accepts "that this was an honest mistake by the recording industry." Spokesman Tysen Kendig said Penn State "remains committed to working closely with the RIAA and other law enforcement entities" to take actions against the trading of copyrighted material. Penn State President Graham Spanier, who testified before Congress in February about online piracy, is the co-chairman of a working group that includes the entertainment industry.
The flap at Penn State occurred as the RIAA has stepped up its enforcement efforts against peer-to-peer users on campus. It recently sued four college students for running programs that create a searchable index of files on a local area network; the students settled the suits by paying $12,000 to $17,000 each to the RIAA. It has also used the messaging features built into Kazaa and Grokster to warn users of copyright violations.
Copyright notices
Under section 512 of the controversial DMCA, a representative of a copyright holder can send a "takedown" notice to a university or other Internet provider, requesting that copyrighted material be removed. Anyone receiving a false notice can sue for damages and attorney's fees, but only if the sender "knowingly materially misrepresents" information.
Cindy Cohn, legal director for the Electronic Frontier Foundation, said that portion of the DMCA gives too much leeway to copyright holders. "If you have a good-faith belief that use of the material is not authorized by the copyright holder under copyright law, that's the only standard you have to meet," Cohn said. "You can't be liable if you're wrong unless you knowingly and materially misrepresented (the information). I think the situations where there will be liability will be very small."
Cohn said the RIAA's apology is the first time that an incorrect DMCA notice has become public.
Peter Meszaros, head of Penn State's department of astronomy and astrophysics, said "there are strict and well-advertised guidelines" about using the department’s computers, and that "infringements are reported to the central Penn State computer security office, which handles any breaches, if and when they occur."
According to department policy, faculty members and graduate students may place files on the FTP site, but undergraduate students have access only with a faculty member's sponsorship.
Soccio, the department's network and information systems manager, said he had been worried that the server would be yanked from the network during the middle of Penn State's final exams last week. "If our site was shut down as this was being investigated, I wouldn't even be able to have a conversation with you because (there would) be so many people in my office wanting to know when it would be back up," he said.
The RIAA's notice went to the university's central computing office, which told the department to delete the material or "we will need to disable access to the machine hosting the infringing song." The central office then notified the department. Soccio said: "The swiftness of the activity the university wanted to take just around finals time scared the living daylights out of me. I'm just glad the university took my word for it that we weren't violating copyright law."
Now, Soccio said, he's writing a letter to his members of Congress opposing the DMCA and will post it in the department for signatures. "I'm loath to think that our educational resources and years of valuable resources can be jeopardized just because some kid in a dorm room is downloading copyrighted material," he said. "That's not a price that society should have to pay."
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| Saturday, May 17, 2003 | |
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 17 May 2003 @ 17:13
I still mourn the passing of Terence McKenna. I had the pleasure of being with him in the early days of his public talksand it brings a lot of happiness to see his words circulating and re-circulating. In this way we can continue to be present with and embody his genius.
From Re-evolution 12”, by The Shamen
Excerpted from: “guerillas of harmony: communiques from the dance underground” compiled & introduced by cinnamon twist
The emphasis in house music and dance culture on physiologically compatible rhythms and this sort of thing is really the rediscovery of the art of natural magic with sound; that sound, properly understood, especially percussive sound, can actually change neurological states, and large groups of people getting together in the presence of this kind of music are creating a telepathic community of bonding that hopefully will be strong enough that it can carry the vision out into the mainstream of society. I think that the youth culture that is emerging in the nineties is an end of the millennium culture that is actually summing up Western civilization and pointing us in an entirely different direction, that we’re going to arrive in the third millennium, in the middle of the archaic revival, which will mean a revival of these physiologically empowering rhythm signatures, a new art, a new social vision, a new relationship to nature, to feminism, to ego.
All of these things are taking hold, and not a moment too soon.
Human history represents such a radical break with the natural systems of biological organization that preceded it, that it must be the response to a kind of attractor, or dwell point that lies ahead in the temporal dimension. Persistently Western religions have integrated into their theologies the notion of a kind of end of the world, and I think that a lot of psychedelic experimentation sort of confirms this intuition, I mean, it isn’t going to happen according to any of the scenarios of orthodox religion, but the basic intuition, that the universe seeks closure in a kind of omega point of transcendence, is confirmed, it’s almost as though this object in hyperspace, glittering in hyperspace, throws off reflections of itself, which actually ricochet into the past, illuminating this mystic, inspiring that saint or visionary, and that out of these fragmentary glimpses of eternity we can build a kind of map, of not only the past of the universe, and the evolutionary egression into novelty, but a kind of map of the future. This is what shamanism has always been about, a shaman is someone who has been to the end, someone who knows how the world really works, and knowing how the world really works means to have risen outside, above, beyond the dimensions of ordinary space, time, and casuistry, and actually seen the wiring under the board, steeped outside the confines of learned culture and learned and embedded language, into the domain of what Wittgenstein called “the unspeakable,” the transcendental presence of the Other, which can be absanctioned, in various ways, to yield systems of knowledge which can be brought back into ordinary social space for the good of the community, so in the context of ninety percent of human culture, the shaman has been the agent of evolution, because the shaman learns the techniques to go between ordinary reality and the domain of the ideas, this higher dimensional continuum that is somehow parallel to us, and yet ordinarily occluded by cultural convention out of fear of the mystery. What shaman’s are, I believe, are people who have been able to de-condition themselves from the community’s instinctual distrust of the mystery, and to go into it, to go into this bewildering higher dimension, and gain knowledge, recover the jewel lost at the beginning of time, to save souls, cure, commune with the ancestors and so forth and so on. Shamanism is not a religion, it’s a set of techniques, and the principle technique is the use of psychedelic plants. What psychedelics do is they dissolve boundaries, and in the presence of dissolved boundaries, one cannot continue to close one’s eyes to the ruination of the earth, the poisoning of the seas, and the consequences of two thousand years of unchallenged dominator culture, based on monotheism, hatred of nature, suppression of the female, and so forth and so on. So, what shamans have to do is act as exemplars, by making this cosmic journey to the domain of the Gaian ideas, and then bringing them back in the form of art to the struggle to save the world. The planet has a kind of intelligence, it can actually open a channel of communication with an individual human being. The message that nature sends is, transform your language through a synergy between electronic culture and the psychedelic imagination, a synergy between understanding and intuition, and dissolve the boundaries that your culture has sanctioned between you, to become part of this Gaian supermind, I mean I think it’s fairly profound, it’s fairly apocalyptic. History is ending. I mean, we are to be the generation that witnesses the revelation of the purpose of the cosmos. History is the shock wave of the eschaton. History is the shock wave of eschatology, and what this means for those of us who will live through this transition into hyperspace, is that we will be privileged to see the greatest release of compressed change probably since the birth of the universe. The twentieth century is the shudder that announces the approaching cataracts of time over which our species and the destiny of the planet is about to be swept.
--Terence McKenna
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| Wednesday, May 14, 2003 | |
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| Wednesday, May 7, 2003 | |
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 7 May 2003 @ 11:52
World Music Artists Shut Out of U.S. Borders
Yvonne Wong, WireTap
March 31, 2003
An American teen warns about the dangers of cultural isolation and ignorance as the Bush Administration's increasingly strict visa laws keep international artists and musicians out of the U.S.
Americans are often horrified when they discover that in countries like China and Cuba, books, music and movies from other countries are often banned. We pride ourselves on our freedoms -- particularly our freedoms of speech, expression, and access to information. At a time when the president uses black and white terms like “good” and “evil” to justify war, it is especially important that American youth be exposed to perspectives from outside of the U.S. in order to piece together their own views of the world. Being exposed to teachers, musicians, artists, and writers from different countries is one way to accomplish this. But thanks to the Bush Administration's recent tightening of U.S. borders, there may be fewer and fewer opportunities for these cross-cultural exchanges in the future.
Jazz pianist Chucho Valdes, the first modern Cuban artist to sign a U.S. recording contract, has been nominated for a Grammy, performed numerous tours in the United States, and was named by Time magazine as "perhaps one of the greatest pianists in the world."
Despite his distinguished reputation, however, the U.S. government sees him as a potential terrorist.
In May 2002, President George W. Bush signed the Enhanced Border Security and Visa Reform Act, which requires longer and more stringent security checks for people applying for visas from a "watch-list" of seven countries that the government has proclaimed "state sponsors of terrorism." Cuba, of course, is on the list, along with Sudan, Syria, Iran, Iraq, Libya, and North Korea.
The new visa rules are designed to keep terrorists out of the U.S., but are having the adverse of keeping out international performance artists as well. Although the policies are not aimed specifically at artists, venues and their clients have had to postpone or cancel concerts, festivals, and even entire tours, robbing American audiences of a chance to understand and appreciate different cultures.
In November, the Afro-Cuban All Stars, one of Cuba's most prominent musical acts, planned to perform in Berkeley as part of its U.S. tour. The new visa policy prevented the group from entering the country, and forced them to cancel their entire 20-date tour.
Similarly, Valdes could not attend the Latin Grammy Awards in September because of the new visa regulations. And Syria's Whirling Dervishes had to miss a scheduled performance at the L.A. World Festival of Sacred Music in September because the members of the group did not receive a response to their visa applications in time for the performance.
Since many foreign artists are having difficulty acquiring visas on time, if at all, clubs and concert halls may hesitate to even schedule foreign artists for fear it will be a waste of time and money.
And if visa laws continue to create frustrating delays and denials for international musicians entering the country, record companies might start releasing fewer albums from those musicians because they will not be able to promote the artists' music via live performances.
This compounding crisis could have a long-term impact on the music world and the marketplace of cultural exchange. American youth must realize that the government's increasingly rigid immigration laws could have a more direct effect on their lives than they may have originally assumed.
Even without the new laws, the process of visa approvals and background checks is far from simple. First, the Immigration and Naturalization Service has to declare that a performer is highly distinguished or culturally unique -- in other words, that they're not taking work away from Americans who could perform just as well -- according to the U.S. Visas Today website. Meanwhile, the process of defining someone as "culturally unique" remains, of course, subjective. An INS security check follows, with a recommendation to the American embassy as to whether or not to approve the artist. If approved, separate security checks ensue. Law enforcement agencies in Washington D.C. must look at the application and give a second approval, which may take a long time depending on whether or not the applicant requires a security review.
Although the government has good intentions in trying to protect the country from possible terrorists by ushering in stricter visa policies, the government should expedite the time it takes to consider the visa application of an artist who has a record of successful, law-abiding touring in the United States. This way, artists who have proven they are no danger to the country can enter without prolonged security checks, and the American public can enjoy the entertainment artists like Valdes have to bring.
Depriving U.S. citizens of the opportunity to witness different artistic traditions leads to a dangerous lack of awareness of these cultures. Future generations of Americans will be ignorant of the cultures that lie outside of their borders, an ignorance that is particularly problematic in light of the world's current political climate. Ignorance often leads to fear, ethnocentricism, and intolerance, which in turn can lead to violence.
Yvonne Wong is a 17-year-old features editor and reporter for Lowell High School's newspaper, The Lowell, in San Francisco. She enjoys denouncing misogynists, discussing comprehensive sex knowledge, making daisy chains, and baking banana-cream pies.
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| Monday, April 28, 2003 | |
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28 Apr 2003 @ 22:49
Raymond Powers and Friends
Mothers Day Celebration Concert
Saturday May 10
7:30pm - 10pm
Local Hero
East Ojai Avenue (Downtown Ojai)
Info. Email: raypows@ojai.net
FREE FREE FREE
Great line up of musicians including Bill Laschke on bass and Van Alpert on keyboards. I will be playing keyboards, 12-string guitar, singing, Cedar flute and manning the loop machine. Plus guest musicians. We've created a great mix of progressive folk rock and world beat ambient art music.
A special evening to celebrate mothers everywhere.
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| Saturday, April 26, 2003 | |
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 26 Apr 2003 @ 16:51
Judge: File-swapping tools are legal
Cnet Tech News
By John Borland
Staff Writer, CNET News.com
April 25, 2003, 12:46 PM PT
update: A federal judge in Los Angeles has handed a stunning court victory to file-swapping services Streamcast Networks and Grokster, dismissing much of the record industry and movie studios' lawsuit against the two companies.
In an almost complete reversal of previous victories for the record labels and movie studios, federal court Judge Stephen Wilson ruled that Streamcast--parent of the Morpheus software--and Grokster were not liable for copyright infringements that took place using their software. The ruling does not directly affect Kazaa, software distributed by Sharman Networks, which has also been targeted by the entertainment industry.
"Defendants distribute and support software, the users of which can and do choose to employ it for both lawful and unlawful ends," Wilson wrote in his opinion, released Friday. "Grokster and StreamCast are not significantly different from companies that sell home video recorders or copy machines, both of which can be and are used to infringe copyrights."
The ruling is the second major setback to date to the entertainment industry's efforts to keep a tight rein on online file-swapping, following a similiar decision in the Netherlands last year that found that Kazaa was not liable for its users' copyright infringements. If upheld, the decision could lead artists, record labels and movie studios to cast new legal strategies that they have until now been reluctant to try, including bringing lawsuits against individuals who copy unauthorized works over Napster-like networks.
Full Story Here
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| Monday, April 7, 2003 | |
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 7 Apr 2003 @ 10:08
Are us humans really that predictable, or have we been spoon fed music via the media for so long our musical tastes are determined by what we are told to like? Advetising at its' finest. Not that I wouldn't want to sell a million records, even 100,000 would be exciting and.... I do love Norah Jones. Don't quite get why they call her a pop artist when she is adult contemporary / jazz. Maybe because she's so young.
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JUKE BOX JURY COMPUTER PROGRAM 'PREDICTS HIT SONGS'
Ananova
March 12, 2003
Record companies are to test a "juke box jury" computer program that can tell if a song is likely to top the charts.
Like the guests on the TV pop show, launched in the 1960s and revived in the 1980s, the software predicts whether a tune is going to be a "hit" or a "miss".
The program, called Hit Song Science, correctly forecast the success of jazz songstress Norah Jones months before she topped the US charts and won eight Grammy awards.Record company bosses were so impressed that five major labels have decided to try out HSS for themselves, New Scientist magazine reports.
HSS, produced by the Spanish company Polyphonic HMI, of Barcelona, looks for songs that match the musical traits of known hits.Each song is run through a set of signal filters that identify and measure more than a dozen musical patterns, including melody, harmonic variation, beat, tempo, rhythm, pitch, chord progression and fullness of sound.The program's designers found that in the past five years of Billboard magazine's Top 30 chart listings, hits were concentrated into a number of small clusters sharing similar traits.
Polyphonic HMI's chief executive Mike McCready said: "There are a limited number of mathematical formulas for hit songs. We don't know why."
Peter Bentley, of University College London, who also designs musical software, said it may only reinforce tried and trusted formulas for success."The music industry is not exactly renowned for its daring exploits," he said. "If you rely on the computer too heavily, you will miss out on the new things."
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| Friday, March 28, 2003 | |
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 28 Mar 2003 @ 20:37
Thu Mar 27, 6:22 AM ET
By Bernhard Warner, European Internet Correspondent
LONDON (Reuters) - The music industry said on Thursday it had begun cascading pamphlets on universities across the globe in its latest blitz against online piracy.
The International Federation of the Phonographic Industry (IFPI), a global trade group representing major and independent music labels and publishers, said it had begun issuing brochures to universities in 29 countries in Europe, South America, Asia and Australia spelling out the legal and technological snares of online file-sharing networks.
"In Canada and Europe we have found institutions where users are uploading thousands of files using university computer networks," said Allen Dixon, general counsel at IFPI in London. "At times, you can't even get on the Internet in some places because P2P (file-sharing) traffic is hogging the bandwidth."
The music industry blames peer-to-peer networks for part of the decline in recorded music sales, a slump some predict will continue for years, eating further into sales.
Online file-sharing networks such as Kazaa and iMesh attract millions of consumers daily who swap all manner of music, film and software, drawing the wrath of copyright holders everywhere.
University computers tend to be connected to high-speed networks and have ample storage space, two essentials for downloading large music and movie files.
IT experts warn that such connections can greatly slow network speeds and leave vast computer networks vulnerable to viruses and other digital intrusions.
In addition to technological risks, unauthorized copying is illegal in many countries, a point the IFPI intends to make clear in its brochures. A month ago, the music industry conducted a similar anti-piracy effort targeting corporations.
The IFPI, which represents majors Warner Music, Universal Music, EMI, Sony Music and BMG, has vowed to fight piracy on all fronts.
In addition to education initiatives, the group has stepped up lobbying efforts and has urged music labels to develop more compelling commercial download services.
The trade body said American universities, which have been targeted by U.S. music labels for the past two years, would not be included in this round of pamphleting. More >
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| Friday, February 21, 2003 | |
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 21 Feb 2003 @ 20:33
I received these two posts on the same day, which seemed quite synchronistic to me. It's astounding to me that music organizations worldwide, especially women in the symphonic industry, have not, to my knowledge, revealed this chauvinism to the world. But then partriarchy has had a firm foothold, and foot up the wazzu in the arts for centuries.
Someone needs to take the sausage away from the Vienna Sin-phonic Dorkestra.
#1 -Letecia Layson forwarded this to me.
Vienna Orchestra Muzzles First Female Member
(WOMENSENEWS)--The first woman appointed to the prestigious Vienna Philharmonic Orchestra has reportedly been ordered by the orchestra's manager to not speak to the press about her groundbreaking achievement.
A spokesman for the Philharmonic denied the claim, but told the British newspaper the Guardian that the orchestra does not "allow individual members to give interviews to prevent an unfair bias on any individual. The orchestra has to function as a unit."
The orchestra has been all-male since it was founded in 1842. In 1996, under threat of losing government funding, the approximately 150-member orchestra said it would admit women to its ranks.
In 1997, the orchestra hired a temporary female harpist but did not list her name in the program or show her face on television.
Viola player Ursula Plaichinger was shown on television during its New Year's performance, her first concert with the group. Her appointment to the orchestra was not announced before the concert.
Plaichinger is considered a "substitute" member of the orchestra until 2004, at which time she will be allowed to apply for full membership.
#2
"My intention always has been to arrive at human contact without enforcing authority. A musician, after all, is not a military officer. What matter most is human contact. The great mystery of making music requires real friendship among those who work together. Every member of the orchestra
knows I am with him and her in my heart."
-- Carlos Maria Giulini, conductor of the Los Angeles Philharmonic Orchestra (1978-1984) More >
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| Thursday, February 20, 2003 | |
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 20 Feb 2003 @ 18:24
I received a story today about the transformation of the music industry. Being an independent musician/producer, I have struggled with the personality apsects that want fame and fortune, knowing full well that the stress probably would have caused a self destruct and that my creative license might have been revoked by the marketeers.
Starting from the ground up, my grassroots sort of approach has enabled me a huge sense of freedom as well as opportunities to explore a myraid of styles that have been incorporated into dance, theater, video, album, workshop settings. And...thank God/dess I have other revenue streams that feed my belly.
The music industry has been like this large, looming, plodding authority figure that has total control of whether my music is heard or financially successful. I say this in past tense, because there is just a plethora of online advantages now for artists and because of this the music industry is transforming. This is a great article written Peter Spellman from the Berkely School of Music.
I chose to create my own website, as well as have free downloads on an mp3.com site and CDbaby. Though I don't get a lot of traffic I love the serendipitous nature of the emails I receive. I've always appreciated passive marketing approaches rather than in your face, sellsell buybuy. Music is such a personal experience for the composer and listener and the internet has closed the gap so a relationship can exist between the two.
Well, that's all for now. I'll continue this stream of thought at a later date.
Peace Through Music,
Support Your Local Musician and Farmer's Market More >
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Sounding Circle - Category: Music
