Slashdot Mirror

BMI and ASCAP have been thugs for a long time, threatening bar and club owners for licensing agreements for offering live music. For this reason, AS220 in Providence no longer allows musicians to perform any cover songs!

Um, your link brings me to a photography blog. It does have a word doc that starts out with:

NO COVERS: AS220 has a STRICT ORIGINAL MUSIC ONLY policy! NO COVERS!
As of Nov 1, 2004 AS220 is boycotting BMI, ASCAP and SESACâ(TM)s Blanket License Policies. This means that NO music registered to any of these organizations may be performed or played on the premises. This applies to any sampled material as well.

Honestly, as a performer, I've been pleased with ASCAP. How I understand it is that a bar or establishment pays a modest price (like ~$500 a year?) and all artists can play covers without fear of legal recourse. Sounds like a great deal to me. Doesn't sound very thuggish, does it?

Your favorite bar doesn't think so. Good for them. Heck, even better for originals only bands. Too bad for bands like mine that like to work in Don't Let Me Down by The Beatles every now and then but it's not a deal breaker.

BMI and ASCAP have been thugs for a long time, threatening bar and club owners for licensing agreements for offering live music. For this reason, AS220 in Providence no longer allows musicians to perform any cover songs!

Um, your link brings me to a photography blog. It does have a word doc that starts out with:

NO COVERS: AS220 has a STRICT ORIGINAL MUSIC ONLY policy! NO COVERS!
As of Nov 1, 2004 AS220 is boycotting BMI, ASCAP and SESACâ(TM)s Blanket License Policies. This means that NO music registered to any of these organizations may be performed or played on the premises. This applies to any sampled material as well.

Honestly, as a performer, I've been pleased with ASCAP. How I understand it is that a bar or establishment pays a modest price (like ~$500 a year?) and all artists can play covers without fear of legal recourse. Sounds like a great deal to me. Doesn't sound very thuggish, does it?

Your favorite bar doesn't think so. Good for them. Heck, even better for originals only bands. Too bad for bands like mine that like to work in Don't Let Me Down by The Beatles every now and then but it's not a deal breaker.

BMI and ASCAP have been thugs for a long time, threatening bar and club owners for licensing agreements for offering live music. For this reason, AS220 in Providence no longer allows musicians to perform any cover songs!

actually one of the dudes from EBN (who were all going to school in providence, RI at the time) still throws monthly events at a place called AS220.

i wish i had been paying attention to music at the time

Brian Jepson who's merited his very own Slashdot story worked with Josh (the creator of the bizzaro music referenced earlier) to help create the original AS220 web presence.

Josh, Brian & I went to South Kingstown High School together where we made horrible git-fiddle noises until I moved away & they found an outlet @ AS220. My Dad still lives on the East Coast & he's read poetry there at the invitation of Buddy C. in some wierd kinda "Yeah! Providence" thing.

There's more of Josh's stuff at AS220.org including a nice rant against NT, in favor of open source stuff.

If Josh was still with us, I think he'd be making serious contributions to the OSS movement. He's still the smartest guy I've ever met. I've met Marvin Minsky and Zack Settel, but didn't get to know 'em enough to compare.

You ever read the comic strip Steven? The old ones were Providence-centric. My favorite was when Brock & Steven went to jail, escaped by climbing into the toilet & through the sewer & came out at Lupo's Heartbreak Hotel. We used to by acid there from Bruce Springsteen on a skateboard.

"Providence. Where it rains Where Friendship is a one-way street. Rich folks live on Power St. but most of us live off Hope.Providence. Where it snows four months out of the year, and the rest of the time rains like a bitch. Where Friendship is a one-way street. Where the rich folks live off of Power, and the rest of us live off of Hope."

Reminiscing....

It does make sense to me for there to be a connection between underground tech and underground culture. JWZ's DNA club sounds cool (I'm only 2 hours away, but a new father, so no time). I'm working with a guy at Grape Stake Studios on an anti DMCA/SSSCA musical work. There is common ground rich for exploitation here. Getting the message out about the threat of things like "trusted" operating systems using forms other than the written word and protests has merit.

Brian Jepson who's merited his very own Slashdot story worked with Josh (the creator of the bizzaro music referenced earlier) to help create the original AS220 web presence.

Josh, Brian & I went to South Kingstown High School together where we made horrible git-fiddle noises until I moved away & they found an outlet @ AS220. My Dad still lives on the East Coast & he's read poetry there at the invitation of Buddy C. in some wierd kinda "Yeah! Providence" thing.

There's more of Josh's stuff at AS220.org including a nice rant against NT, in favor of open source stuff.

If Josh was still with us, I think he'd be making serious contributions to the OSS movement. He's still the smartest guy I've ever met. I've met Marvin Minsky and Zack Settel, but didn't get to know 'em enough to compare.

You ever read the comic strip Steven? The old ones were Providence-centric. My favorite was when Brock & Steven went to jail, escaped by climbing into the toilet & through the sewer & came out at Lupo's Heartbreak Hotel. We used to by acid there from Bruce Springsteen on a skateboard.

"Providence. Where it rains Where Friendship is a one-way street. Rich folks live on Power St. but most of us live off Hope.Providence. Where it snows four months out of the year, and the rest of the time rains like a bitch. Where Friendship is a one-way street. Where the rich folks live off of Power, and the rest of us live off of Hope."

Reminiscing....

It does make sense to me for there to be a connection between underground tech and underground culture. JWZ's DNA club sounds cool (I'm only 2 hours away, but a new father, so no time). I'm working with a guy at Grape Stake Studios on an anti DMCA/SSSCA musical work. There is common ground rich for exploitation here. Getting the message out about the threat of things like "trusted" operating systems using forms other than the written word and protests has merit.

Interesting, AS220 made Slashdot. Great place to drop by if you are ever in Providence, Rhode Island. Kind of an artist commune, bar, coffeeshop, gallery, and place to see shows rolled into one. I used to live near there thought it deserved the plug. especially since they have some oggs. AS220

Find someone who uses OGG and they'll make it.

I use ogg. When the only player I could find was Sonique and the only material was my dead friend's it seemed redundant.

Now there's a plug-in for WinAmp and I have a CD-ROM drive that doesn't fuck up rips, so I'm building a library. Ogg Vorbis sounds better and it's openness is attractive for future-proofing and Hollings/Eisner/Valenti/Rosen-proofing my collection.

I believe there's a problem that OGG requires floating-point operations

The current implementation might require FP, but I haven't run across an audio processing algorithm that couldn't be done in fixed-point (and don't forget Turing after all). Sure it won't be easy, but with a reasonably fast processor and good fp emulation library, only a select few inner loops would have to be hand coded (to take the floating-point values, convert them to 32-bit fixed point values, do the processing using the uP's multiplier to best effect and putting the result back in floating point at the end).