On Saturday, November 18th, MySpace will produce its first ever, live streaming DJ broadcast through its web site. Sponsored by T-Mobile, MySpace will air the sounds of one of the world’s top DJs, Paul Oakenfold, as well as Sandra Collins, Jonathan Peters and Vello Virkhaus, live from Miami’s, Club Space.

Times are 11 pm to 5 am EST and 8 pm to 2 am PST.

Visit http://www.myspace.com/sidekick3 for more details and register for the chance to win a trip for two the event!

For the past 4-year’s, Jeff Z., program director at New York’s only dance radio station, WKTU, managed the to fill a giant void that’s existed in one of the largest radio markets in the country. Simply put, he programmed new dance music hits by pop and crossover dance artists, digested by young twenty-somethings who spend their summer weekends cruising the Jersey shore looking to hook up or driving into Manhattan to meet friends and go for a roll at the now defunct Twilo, Tunnel or Sound Factory nightclubs.

Recently, Jeff found himself jobless, as WKTU’s parent, Clear Channel, moved to not renew his contract. He will be replaced by Rob Miller of the popular Long Island, New York station, WALK 97.5 FM. Miller seems to have been able to keep WALK-ing to the #1 slot in the ratings on the Island, but it remains to be seen if the 17-year radio veteran can transition to the big city and really feel the “beat of New York.”

Although I’d heard about the shake up, it wasn’t really on my radar. Mainly, because I rarely, if ever, listen to FM, playlist driven radio. In its current state, the format is simply dead to me. Programmed by lopsided call outs to regional listeners, computers crunching statistics and special interest manipulation (can you spell P-A-Y-O-L-A), radio playlists are so tight and repetitive, I simply have turned a deaf ear.

In the car, I generally listen to talk radio. When I want music, I turn to satellite radio. Specifically Sirius’s dance music programming, if it’s available to me in a rental car. On my computer, I launch the iTunes radio guide, click on dance/electronic, and stream channels like Music One or one of the other web based stations to choose from.

A music industry colleague asked me if I thought fate had caught up with Jeff Z.; that he was on the chopping block because he played cookie-cutter dance music. I couldn’t really answer the question objectively, because I didn’t have much information to go on. I thought it was an important enough topic to go home and research. And, voila…this posting ensued.

The industry colleague of which I write, PR and Marketing guru, Lainie from Aurelia Entertainment, wanted to know if I thought he’d lost his job mainly because he generally played it safe by programming generic, pop dance hits and rarely, if ever, adding widely received records in clubland to the weekly morning and afternoon drive shifts. The same music introduced during weekend late-hour dance music mix-show’s programmed and mixed by high profile DJs likr Paul Oakenfold, Liquid Todd and Tiesto. If fans of the station were tuning in every Friday and Saturday night to hear the hottest dance music, then why don’t those records transition into regular playlist rotation? She pondered whether that had something to do with the change.

After doing some online research and brushing up on the topic, I learned that the almighty Clear Channel, the nation’s largest radio conglomerate, is moving KTU classic dance in order to compete with upstart, WNEW 102.7 FM, a competitor that experiencing recent success with the classic dance format. Although 102.7 has taken some market share, WKTU is still ahead in the ratings.

If one were to define the classic dance radio format, they might say it contains disco influenced music, including such greats as Gloria Gaynor’s “I Will Survive,” Evelyn ‘Champagne’ King’s, “Shame,” the Brothers Johnson’s “Stomp,” and Michael Jackson’s “Don’t Stop Til You Get Enough.” I’m going to assume the classic dance format will also bring back early-90’s club classics like, “Finally” by Ce Ce Peniston or “Show Me Love” by Robin S., but I can’t be certain, since, as I said, I don’t listen much to FM radio anymore.

The New York Daily News spoke to Jeff Z. about the change. He seemed to take it in stride, understanding that Clear Channel needs to make sure the station continues in its number one slot for the format. The higher the ratings, the more ad dollars for the station’s coffers. A public company, Clear Channel must report quarterly profits or face the ire of investors. When profits go down, complaints go up. And you thought arguments between two queens at the Roxy over whether Junior Vasquez is a better DJ than Danny Tenaglia were bad? Ha! Wait until you have to report to people who actually invest REAL money in what you do.

For someone who clearly loves to break new music (whether that music is good or bad is a matter of opinion), classic dance was just not a format Jeff is comfortable with. So, he’s agreed to move on and pursue other opportunities. Will those opportunities be in radio? Jeff says in the Daily News article, he’ll wait to make that decision when he returns from his October 21 wedding. Although he does say that he definitely wants to be working with new music, not old. And, he’s not sure if that even exists in radio, so he may look outside the radio industry to find it. Maybe, he goes to satellite, like everyone else seems to do. But, the emerging digital radio spectrum coming on line may improve Jeff’s chances of programming another dance station in New York City. Digital radio will allow a station to create four channels from it’s single digital channel, which will greatly increase the offerings on over-the-air radio, but that has not happened yet.

Turning to Lainie’s original question; now that I’ve done the research, no, I don’t think he was let go because he didn’t play enough NEW dance music. He was let go because he didn’t want to program OLD dance music. Usually, dance radio program directors and mix show coordinators are villified in the dance music community for not playing enough new dance music, lol. In this case, one clearly sees the opposite is true.

I’m sure you’re all wondering, why is KTU turning to classic dance? And, why is that important to the average Joe -radio-listener, tuning in? I think I know the reason; it’s not because I’m privvy to any insider information or that I truly understand the radio industry. It simply has to do with demographics and economics. Who’s your audience and how do you make money off of them?

Early in this posting, I mentioned all those crazy, club going kids, right? Well, those 18 to 24-year-olds have turned the corner and are now young adults with enough cash to buy iPods, purchase laptops and install satellite radios in their Audi A4’s and BMW 3251’s. They don’t listen to traditional radio anymore, because they can get music for free or at low cost (if they decide to pay for it, which I think a certain portion of them now do or iTunes wouldn’t be so successful). They can decide when and how they want their music, simply programming it in whicever rotation they feel and however they want consume it.

All this, of course, has a tremendous effect on the advertising market, which needs eyes and ears of those lost listeners to feed itself. But, the young, hip listener has since moved on to get their music from competing media interests.

(Note to dance music Interet sites: Get LEGAL! Start learning how to generate revenues from banner and audio ad networks. Stop living in the, “oh, I do this for the love of it” and learn how to make generate some revenues so you can give back to the industry and help it grow. Oh…and stop giving companies like Beatport and Numark banner trades, because they are out there making a killing while you slave over the HTML and give your ad space away because you get a free mixer or some free downloads. By doing this, you’re keeping the ad rates in the marketplace down.)

That being said, traditional radio corporations like Clear Channel are realizing the trend and are now looking to divest themselves of stations or target a different demographic. The Internet is chipping away at their monopolistic business model and with that goes their ad rate premiums. For growth and shareholder value, KTU has begun the switch to cater to an older older audience, not as tech savvy audience listening to radio in the car.

That begs another question: would WKTU survive if they were to program quality dance music like Kaskade’s “Here I Am” or David Morales’s, “How Would You Feel” in afternoon drive? We’ll never know now, will we? What we do know is that there are hundreds, if not thousands of Internet dance radio stations, legal and illegal, download or streaming, playing quality dance music. And, this is where the real dance music fan is, somewhere in a tangled maze of web sites on the Internet, trying to figure it all out.

Somewhat realizing it, but maybe with not enough business savvy enough to know, these small web casters and download sites, whether legal or illegal, have changed the paradigm in dance music forever.

(Note to dance music record labels and artists: if you’re not on the web, you should retire, because that’s where people listen to dance music. Stop wasting your time at radio and start building online web destinations that are meaninful. Support Internet sites, because that’s where your audience is.)

Despite all the amazing possibilities, the dance music industry online is both inconsistent and extremely fragmented. Except for the given few, many web sites are incapable of monetizing their platforms, and it’s all virtually untrackable anyway. When someone finally decides to invest the money in sorting this mess out, only then will we really be able to aggregate the information needed to fuel the industries growth. Without those mechanisms in place, we can’t prove anything to anyone, and that limits our ability to charge higher ad rates, or monetize listenership and readership, which in turn fuels growth of the genre.

By maintaining independent, ultra-competive, and at times, negative and self-destructive attitudes in dance music, instead of finding ways to cease fighting over the pennies on the dollar left on the table by hip hop, latin, country and even jazz/classical, the dance music industry will continue to shoot itself in the proverbial foot.

Because there is less money to go around in dance music, the nature of the medium finds a certain number of its leaders uneducated in the digital music business or general business practices on the whole. In a world of one hit wonders, dance music labels both rape and pillage themselves and their fans by forgetting to cultvate talented, passionate recording artists over the long term, signing one-hit wonder dance music producers who will never be able to connect with the mainstream audience in a meaningful way, simply because they just don’t sing or perform any of their music.

The other day, when I actually did have the radio on for a trip up to Morris, NY, I heard an advertisement for the “Roger Sanchez produced…” and the “Bob Sinclar produced…” such and such artist performing at such and such a venue in New Jersey. Truth be told, I forgot who the singers were, because I knew the producers better. So, how can we as a dance music community stand up and deliver artist driven records? I’m just not sure we can, since we are so immersed in the age of the producer as an artist. How do we resolve it? It takes time, and who has the time to lead the effort for positive change? It’s not that no one is doing it, it’s just that its happening in few and far between places.

One could attribute the stagnant growth in dance music to the millions of dollars needed to affect change amongst the mainstream music audience, which just isn’t there to. Hip Hop has that kind of money, but we dance music industry folk, do not. And that inhibits us from telling the story and growing the business.

Where hip hop has a “hip hop week” certified by New York City Mayor, Michael Bloomberg, with performances and art exhibits, restaurant specials and parties, dance music is not tying the move to classic dance radio as a rallying call to introduce people to the history and culture of dance music, which could potentially give it some roots from which to grow again. Most people know the story behind Run D.M.C., LL Cool J. and Public Enemy, and they have followed Dr. Dre, Nas, Eminem, Jay-Z and Diddy through to today. We just don’t have that kind of interest in dance music.

Don’t get me wrong, I don’t find much wrong with listening to producer-driven artists. If people want to purchase producer-driven albums with featured vocalists, be my guest. But, the days of developing song-driven artists, like Ce Ce Peniston, who’s album spawned two or three radio hits and crossed over into the mainstream; C & C Music Factory, who dominated the pop charts; and the Pet Shop Boys, whose early records received mainstream radio play, seem to be long in the past.

There are so many great dance music songs that just never make it to the radio, because people just aren’t supporting the vocalists as artists, they are supporting the producers as DJ gods who spin their own records from the DJ booth. I’m one of those guys, but I still love to play strong songs and am always excited when someone asks me who the artist was. There has to be room for both, so you can merchanise those artists.

So, that’s my opinion, for what it’s worth. Look forward to reading some comments!

Last week, Universal Music Group, the world’s largest record company, pulled its videos from FUSE, a music television network. FUSE is a subsidiary of Cablevision Systems Corp. of Bethpage, NY. Cablevision is the main provider of triple-play (cable, phone, and Internet access) services in the greater Tri-State (NY/NJ/CT) area, with the exception of some parts of New York City including Manhattan.

According to a Wall Street Journal report, UMG and FUSE could not come to terms on a license fee to allow the network to show its music videos.

In a dispute with Yahoo over promotion of their music videos, Warner Music Group, one of the big four music companies, pulled its music videos from Yahoo’s web site.

Audio playback of music generates a peformance royalty set by U.S. law, which is collected by the country’s performance rights organizations, ASCAP, BMI, SESAC and Sound Exchange. These organizations bill radio stations, television networks, satellite radio, wireless providers and Internet companies for each instance of a song performed in the public realm and subsequently distribute monies collected to their member recording artists.

With music downloads cutting into record industry profits, major record labels are changing their stance on music videos, demanding high license fees in addition to performance royalties, passing along the costs of producing music videos, which were once strictly for promotional use, to companies generating revenues from their use.

To make up for lost dollars, record companies are raking in hundreds of thousands of dollars from television networks, cable companies, wireless providers and Internet companies to make up the difference, all the while complaining about losing money from digital downloading.

Because these traditional and Internet media companies are generating revenues around music videos, record labels want a slice of that pie, without taking into consideration the operating costs of these companies or the fact that music videos are only a portion of a digital media company’s offerings.

I’ve had to personally negotiate fees with one major recording company. Instead of partnering with my company, StarStyle, to build a new business on sales of products shown in videos, the company demanded a straight license fee to use all their music videos. We told them we didn’t need ALL of the music videos, just the one’s relevant to our audience, which skews 18-35 female.

After taking our money, the company has done relatively little to assist us with our core request, which is to work with all their label units to generate revenue around sales of the products used in the music videos. The digital business unit signed the deal, but they said it’s up to us to work with each individual label in the umbrella to get the additional information we need.

After signing the deal, there was no account management to help us with our needs. There are no thank you’s for taking our money and providing us with the support we require. It seems as if record labels don’t understand they have an obligation to fulfill the terms of the deal’s they close. And, for lack of a better word, it’s disgusting, because they expect their partners to jump when they say so, but they do NOTHING in return.

There was no mandate from the corporate parent to the sub labels to work with us. Basically, the person I did the deal with said, you’re on your own now and we have no control over what our labels do. BUT THEY SIGNED THE DEAL ANYWAY!

Since they own the videos, but the artist’s have final say over third party deals, many of the company’s strategic marketing heads won’t even pick up the phone to ask. One even told me directly to my face that I had to bring something BIGGER than StarStyle to the table in order for him to even move a muscle. So, basically, our deal isn’t important to them, but it needs them to actually create the revenues…and no one seems to want to even try.

The response I get usually is, well, there are too many hoops to go through, they’ll just ignore my request hoping I’ll just go away or they’ll pass the buck to someone else in another department, who then ignores the request too and so the cycle goes. And no one has any recourse, because this is the way the record industry works and people just accept it as status quo. In any other business, you’d be fired for ignoring your partner, but in the record industry, you get a promotion!

One would think that a record label would see the value in working with us, because they could generate more than just the license and performance royalty, but this is a record industry that is on the ropes, and all they seem to be concerned about is selling music the old way, instead of finding new ways to profit from their products.

Giving record labels the benefit of the doubt, it’s not the industry as a whole, it’s PEOPLE who work in the industry who are either too lazy, too disinterested, too busy, or too incompetent to accomplish anything new. It’s a group of people who forgot somewhere along the road, that it’s their job to find new ways to promote artists and generate revenues wherever they can. Of course, not all ideas are good ideas, and I shouldn’t be complaining just about my dealings at StarStyle, because some people might think what we’re doing is the best idea (but from where I stand, everyone seems to love it). But, it’s not just StarStyle. I hear the same story, day after day, week after week, of people who are working in power positions in the record industry, frozen from fear of making a new decision because it’s simply too daunting for them to figure out.

I’m hoping that a new generation of digital music executives is born out of all the new college-level music business programs out there, which will change the record industry forever. Today, that’s just wishful thinking.

Wherever music is played, from television, radio, wireless and satelite to bars, nightclubs, restaurants, retail stores and sports stadiums, recording artists receive a performance royalty for rebroadcast of his or her body of work. For the record label and recording artist, this translates into receiving a small slice of the net profit of company’s that use music to create, in the the case of retail stores, background ambience spurring patrons to buy clothing or in the case of nightclubs and bars, which use music to drive patronage resulting in liquor sales. The long-standing rule is: if music is being used to create profits for someone other than the recording artist, then the recording artist should be compensated for that use.

Generally, the music buying public are not savvy to the inner workings of the recording industry. Ask most people if $500,000 to record an album goes directly into the pocket of a recording artist and they would probably say that’s true. In fact, when an artist signs a recording deal, the money actually goes to paying the attorney’s fees, paying the manager, and then paying the costs associated in making and marketing the album. The artist sees little of this money, unless he, she or the band use their own home recording studio, which allows them to profit a bit after equipment and studio expenses.

From recording sessions and promotion to marketing and manufacturing, the advance is spent on creating and publicizing an ablum. More often than not, contracts between label and artist state labels can recoup advance payments of recording fees from the money generated by album sales.

Most albums lose money for record labels, never generating the dollars needed to break even. Although one hit record can wipe away the losses of ten flops, those artists who didn’t do well won’t see a dime from the artist with the hit record. That’s because each recording must pay for itself. If it doesn’t, an artist can end up owing the label real dollars, which is recouped from sales of that artist’s next album, and so on. An artist can have two low-sellers, then a massive hit, and the hit will have to pay for the money not recouped on the first two releases.

Unless a record sells in the multiple millions, a recording artist generally makes more money from music publishing and other revenue streams than album sales. Publishing–the big secret that the public is generally unaware–is when a royalty is collected from the requested reuse of that artists music by a commercial entitiy, for example a radio station or advertising agency. If a hit song is played 1,000 times a day across 100 radio stations, cha-ching! That’s where the real money is made. If an ad agency needs a song for a commercial, fees can range from the ten’s to hundred’s of thousands of dollars.

Artists also make money from tours and merchandising, but it’s publishing and licensing to third parties who use music to generate profits in a myriad of ways, for example in an advertisement for Progressive Auto Insurance, which can generate tens of thousands of dollars for both label and artist in licensing and performance fees. Some songs command a million dollars to be included in a commercial. There are many artists I know who still get checks in the mail from rights agencies worldwide collecting performance fees on their behalf.

I’m generally in agreement with these policies. Or course, Netmix is licensed for public peformance by ASCAP and BMI through Live365. We’re not profitable, so we pay the minimum fee a small webcaster is obligated to pay.

Music videos profit structure is different, because labels and artists collect a performance royalty, but labels are also asking for additional license fees from broadcasters. My contact at FUSE says the network feels that the license fee asked for by Universal is simply too onerous to pay. If FUSE capitulated, a precedent would be set whereas record labels could then demand high fees in addition to performance royalties they already receive from anyone who wants to show videos, without taking into consideration a companies size and revenues.

The common theory about why record companies are doing this is that record labels seem to be operating with a one size fits all mentality, refusing to consider individual deals that will create more revenue opportunities across multiple platforms over the long term. They see a way to squeeze cash in the short term, but like the artists they represent, they aren’t building businesses over the long term. They’re looking for one hit to pay for all the others, instead of building value in the longevitiy of the artist, like they used to do 20-years ago.

So, the record labels see any deal as an opportunity to receive a large, upfront license fee for their music videos, and its clear there is little exception to this rule. It stands to reason, that the more radio stations play music, the more television networks show videos and the more Internet companies stream videos, the more record labels and artists get paid.

You would think this would apply to music videos on the web, but that’s not the case. By forcing both traditional and new media companies to pay high license fees, many companies will decide that it’s not in their best interest to show videos at all, which reduces the outlets, subequently affecting the artists promotional efforts and in the end, the record labels profits.

If record companies look only to companies like Viacom, that can afford to pay these onerous licesning fees, they are alienating a number of other companies operating in the new media, which will contribute to their bottom line over the long term and expose their music to a greater audience. If anyone’s read Wired editor Chris Anderson’s book, The Long Tail, the point Anderson makes is true; the longer the tail, the more people will interact with a body of work over time than in it’s initial release.

I believe this is the reason why Warne Music Group forged a deal with YouTube; they’d rather get a piece of the ad revenue and performance royalty, then an upfront license fee. That, to me, is the smart, long term approach. If YouTube fails like Napster did, under lawsuits and cease and desist orders, it sets both the Internet and the record industry back ten years. Why not take a piece of the ad revenue? And in StarStyle’s case, a piece of the sale of the product in the music video? This is what consumers want, why not give it to them today, instead of fighting tooth and nail to control every single element of your copyright?

Record labels are under assault from music pirating. Yes, the losses are staggering, but there’s something to be said for the fact that the labels shot themselves in the foot. And, those losses can be made up in licensing or publishing with a clear and consistent strategy of working together with young businesses who use music to help them grow, and all parties will profit in the long term. Where they are losing money on downloading, they will be generating revenues elsewhere to make up for that loss. Especially if they start attaching a piece of the ad revenue generated.

After the birth of music videos, labels would do anything to get a slot on MTV, in the hopes that a video would be added in rotation on the network. Receiving MTV exposure meant instant credibility with music fans, spurring sales and creating multi-platinum recording artists overnight.

For many years, MTV along with a few national music programs, including Soul Train and regional music video shows were the only outlets for music videos. On the success of MTV, Viacom purchased BET (Black Entertainment Television) and CMT (Country Music Television). Just a few years ago, amid complaints that the network was not showing enough music videos, MTV created MTV2 to showcase emerging artists. Around the same time, Cablevision bought back it’s U.S. rights to Much Music from Canada’s Chum Television and launched their own music video network, rebranded FUSE, stateside to compete with MTV.

Since that time, broadband penetration has risen nationally and Internet companies including YouTube, MySpace and Google to name a few began to show music videos, which can now be accessed on the web, cable, or satellite. Verizon and Cingular are streaming music videos over wireless. As music video catalogs have grown on the web, so has the major labels insistence that these companies not only pay a performance royalty to them and their artists, but also a license fee for the right to show the videos at all.

Whereas radio stations continue to add new records everyday, and only pay a per play fee and a percentage of ad revenues to the recording industry, why are Internet companies expected to pay additional for the right to show the music video? And, it seems as if they must license the entire music video catalog from a label, even if they only want to show just a few videos. Is this right? Of course not, but in today’s music market major record labels force new media companies into these arrangements. It used to be that music videos were for promotion to sell the artists music, but not any more.

All of these factors play into FUSE’s resistance in paying a license fee to Universal. As the world’s largest record label, UMG knows that without their music videos, FUSE’s ratings may suffer, and with that, advertising rates go down. With Internet companies forced to pay a license fee, UMG has leverage now, feeling that it doesn’t need companies like FUSE as much as they used to, because now they have Yahoo, AOL, MSN and retail outlets, like Champs Sports, to promote their music videos.

But, record labels also still need airplay anywhere they can get it for their artists to stay relevant and to promote those artist’s recordings. As the media market fragments, there are more places to view visual media, and the record industry has to compete other forms of entertainment, including gaming, virtual reality communities and social networks, for the consumer’s short attention span. You would think they’d want their music videos played millions of times a day across all these networks, and allow the companies broadcasting them the leverage to get them out into the long-tail. But that’s just not the case. It’s all about charging the toll now and forgetting that music videos sell music. The less outlets means less promotion, and translates into a drop in sales because you’ve limited your exposure in one area in the hopes that you generate revenues from those companies trying to build their business around your music, instead of from the fans who purchase music. I believe this a participating factor in why young people think music should be free.

As new media companies begin to pick up the tab for music licensing, labels can become less concerned with overall sales, while depending on the profits of their partners. That’s a slippery slope, as I’d rather depend on the dollars from the wallets of a million consumers, than 4 or 5 companies who can then turn on me and dictate the terms of use, like consumers are doing today.

There’s a balance that needs to be met, but right now, record labels see gold in onerous license fees, because they are in a position to dictate terms. It’s interesting that WMG has pulled its videos from Yahoo, complaining that their videos are not getting proper promotion on the company’s web site. Now, not only are they losing their fees, their artists also suffer because someone high up in the company decided to play hard ball. I’m not privvy to the actual details of their beef with Yahoo, but it doesn’t bode well for WMG artists who need any promotion they can get. If I were a WMG artist, I’d be livid and demand that my video be added back to Yahoo immediately.

Here’s to hoping that FUSE holds out and that other follow, in order to force the record industry into a more rational, long term business approach to music videos, which is the same model as radio; pay for performance.

(I’ve updated this article since it’s orginal post to correct spelling errors and add new commentary)

In anticipation of a mobile world, I went ahead and secured the Netmix.mobi URL (do you still call it a URL?) for future use. A few years ago, I’d registered Netmixmobile.com, mainly to make sure that I had my bases covered, but with the new dotMobi suffix coming into play, I thought I’d take advantage and register it just in case one day I need it.

dotMobi domains are registered and administered by EuroDNS.com. There’s been some speculation as to whether the .dotMobi domain will be relevant in the long term, but it is a key differentiator for Internet companies that operate in both spaces. Today, you can deliver specific experiences to targeted web browsers through the header information in your source code, but for companies who want to seperate the experiences, it could make sense. For example, I can get my Gmail over mobile, without having to type in a different domain. I’m just redirected by the web server to the appropriate application, which then delivers to me the correct format and experience for mobile.

The people at dotMobi claim by having a dotMobi address, you’re agreeing to operate a standards based service that conforms to the dotMobi consortiums specifications, and will appear on mobile devices in a more consistent and well structured way than just repointing to a mobile app alongside a web app from a mobile browser. Either way, it’s extra money out of the content provider’s pocket that may or may not have to be spent. For me, better to be safe than sorry. I’d rather own the real estate and see what happens, then be forced to buy it at a premium later. I learned that lesson early on.

In fact, I still own Netmix.TV, which isn’t as cheap as my dotcom or my dotmobi, but that’s because the dotTV domains are registered by the ccTLD, a small island nation in the Atlantic called Tavula. When they were assiged the dotTV TLD, they realized they could make a lot of money registering and administering it to television networks who wanted to own a piece of real estate on the web associated with television. Not a bad idea either, it’s just that we can do everyhing off the dotCom if we need to. But, like I said before, it’s a differentiator, and can allow someone to visit two indepdendent but cojoined experiences on the web at the same time and get two different experiences that quite possibly could be tied together somehow.

Speaking of mobile, we’re in talks with a company to bring the Netmix Radio stream to a mobile audience. In a few short weeks, not only will you be able to listen to Netmix over the web or on your TIVO digital recorder, which brings our streaming partners Live365.com to your living room, but also over your mobile device.

I’m working out the details now and will announce here when the mobile stream goes live.

Don't the people at Live Nation surf the web? You have to ask, have they done their homework? To leave the sale of tickets to Live Nation events to the over 20,000 Burnlounge affiliates is a sure bet to dilute your brand, cause confusion in the marketplace and leave the sale of pricey concert tickets to the less than business savvy. Then again, I guess the folks at Live Nation must have read Wired editor, Chris Anderson's recent book, "The Long Tail." They figure, better to let 20,000 kids try and sell a pair of tickets to their friends, then have us actually do our jobs and do it ourselves.

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In a sign of things to come, the venerable dance label, Ultra Records, headed up by CEO Patrick Moxey and GM David Waxman, have signed a distribution deal with Warner Brothers Records distribution arm, Alternative Distribution Alliance, for North America.

In an era where the music market is so fragmented that a double-platinum album is looked at as a huge success, record labels may be influenced by Wired editor, Chris Anderson’s recent book, The Long Tail: Why the Future of Business Is Selling Less of More. Anderson’s book takes a look at the record business among other markets and points out that the aggregate sum of all minor music sales total more than the sum of all popular hits.

The shuttering of New York’s Strictly Rhythm Records spelled trouble for dance music in the early part of the decade. Without a hit record to feed into the major label system, Mark Finklestein’s dynastic label made him and his staff wealthy as the bunny paid out a handsome sum to purchase its catalog of music as well as the label.

That was, I believe, before Warner Brothers purchased ADA, which would have been a better fit for the Strictly as a distribution partner. Mainly because ADA understands dance and electronic music. Having had to traverse the WEA Distribution system was most likely the straw that broke the camels back. Accountants at Warner Brothers probably wondered who was this little label selling a few hundred thousand, when they needed to break records in the millions to contribute to the mother ship.

The same thing happened with the Warner Brothers, Kinetic Records partnership. The label, which broke Paul Oakenfold and Sandra Collins in the U.S., is a shell of its former self and has made little impact today.

Can Moxey, Waxman and Ultra carry the torch for the rest of the dance music industry in today’s volatile music market? I think so. Every since Moxey hired Waxman, the label has been slowing building a tremendous catalog of mix compiliation series on its own and with its across the pond partner, Ministry of Sound.

Recently, Ultra signed Tiesto, which is akin to Kinetic’s signing of Oakenfold or FFRR’s signing of Goldie (speaking of FFRR, wouldn’t it be cool if that label made a come back!). Ultra has also inked deal’s with Kaskade, which is a key signing as the DJ/Producer’s track, Here I Am made it into a key scene in the the recent hit film, The Devil Wear’s Prada.

I think the powers that be at Ultra understand that it’s not only record sales alone that are going to keep you in business. It’s publishing and royalties over the long term of an artist’s career, which are equally if not more important. Having someone like Tiesto or Kaskade produce music that ends up in car commercials or movies can pad the label’s bottom line and help them to do development deals with up and comers that may not have been possible before.

Another big name signing is Victor Calderone. Although not as big as Tiesto globally, Calderone has made a mark for himself as a popular circuit DJ. His sound crosses over into the anthemic-oriented gay market, but his music is also digestible for a Crobar or Roxy heterosexual punter who probably won’t visit Ibiza this summer, but they’ll sure spend money at the Borgata in Atlantic City or travel to Vegas for a weekend of clubbing.

StarStyle Launches Music Video Player; Now You Can Buy What You See In Music Videos

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Kevin Aviance, the flamboyant and popular singer who is one of the most recognizable dance music artists in the genre, was attacked on Saturday night in the East Village. This horrible hate crime has no place in New York City, where all of us gay or straight, black or white, American or immigrant should have the right to walk down the street without fear of violence.

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