Nick's Christmas Song
I have been known to dabble in the art of creating songs and then recording them. For the entire sophomore year of high school, my friend Colin Holmes and I would sit in front of his family computer and make up ridiculous songs on the fly that were recorded with an extremely crude PC microphone. I believe one of the highlights was called "Shaniqua" and was a love/rap ballad to a fictional Columbus Public schools student and the turmoil caused by being an awkward white boy in the suburbs. Very poignant stuff for high schoolers, if I do say so myself. In addition to Derby, I also created an album's worth of songs with long-time friend Renata Harrison as a faux-emo band under the moniker Table for Tears. Most recently, my friend Katie Mauck and I have informally created a folk duet whose purpose is to cover Eve 6 songs in a folk styling as we think it to be ironic, fun, and also kinda cute. We have but a few of these songs in MP3 format. Needless to say, I will use any excuse I can to write a song or two. Especially when the excuse (in this case "write a Christmas song") gives me direction as I can rarely come up with something great if left up to my own devices. The first Christmas song I wrote was for Table For Tears and I thought it was a nice little ditty, so maybe this one would be even better. I worked on my first attempt at a song for this project for a month and came up with a half-finished song whose existent half I mostly loathed. Knowing I had to come up with something before the deadline (which is today), Tuesday night I started from scratch and wrote and recorded a new song in an evening. I think I should do this more often as the result is much better than it would have been if I had time to think about what I was doing.

In Mariah Carey's new album E=MC2 what iPod are the cover stickers for in the Deluex Edition CD?
the classic ipod.. :)
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Vevo CEO confirms it's all about business
As he put it: music videos are popular online, fans like them, and content owners think of them as premium content. But they're too widespread, appearing on YouTube, AOL, and many other sites, and the user experience is way too varied--when a user searches on a song name at YouTube, they might get multiple copies of the exact same music video, plus user-posted remixes, live versions shot with a cell phone camera, and even parody versions. More generally, music videos grew up as a promotional tool for albums, and advertisers and users have come to see them as a commodity rather than prime product. Consequently, advertisers haven't been willing to pay much to place their messages next to them, and online music videos have lost money at a "staggering" scale.
Vevo is meant to provide an online clearinghouse for label-approved music videos--the kind of professionally shot videos that often cost half a million dollars or more and used to form the backbone of MTV. Vevo will be the exclusive distributor of these videos, and will handle all licensing and ad sales, although partner Google is handling the actual video hosting and streaming. In other words, if you're running a video site and you want to post a video that's in Vevo's catalog, Vevo will be your only source. By enforcing scarcity, giving advertisers a central place to buy ads, and controlling the user experience--for example, ensuring that there aren't many copies of the same video on YouTube--Vevo believes that advertisers will be willing to pay much more to appear next to these videos. So far, this seems to be true: according to Caraeff, advertisers have been willing to pay between $25 and $40 per thousand views (CPM, in advertising parlance) for Vevo-provided videos, compared with average market rates of $3 to $8. Caraeff claimed that artists and publishers will get about 50 percent of all revenues from these ads--a much higher percentage than they earn from recordings. This is why Mariah Carey and U2 were so excited about the launch.
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