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Indian E-music – The right mix of Indian Vibes… » 2021 » March » 10


Delivered... Spacelab - Independent Music and Media | Scene | Wed 10 Mar 2021 10:16 pm
Check for an update at that time to see who's performing.

Exploring Live 11’s new features with Push hardware

Delivered... Peter Kirn | Scene | Wed 10 Mar 2021 8:06 pm

Who's up for chance modes? Scales? Polyphonic pressure? Exploring Live 11 on Push hardware means you can get away from the screen and get your hands on some of the new stuff. Here's how.

The post Exploring Live 11’s new features with Push hardware appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Wed 10 Mar 2021 7:00 pm
Billie Eilish, Green Day and Tame Impala headline! Dillon Francis, A$AP Rocky, Modest Mouse Illenium, Gorgon City, Haim, St Vincent and 6lack also top the list.

March Madness Trademarks:  Tips To Avoid A Foul Call from the NCAA (2021 Update – Part 2)

Delivered... Mitchell Stabbe | Scene | Wed 10 Mar 2021 4:08 pm

Yesterday, I wrote about the history of the NCAA’s assembling of the rights to an array of trademarks associated with this month’s basketball tournament.  Today, I will provide some examples of the activities that can bring unwanted NCAA attention to your operations.

Activities that May Result in a Demand Letter from the NCAA

The NCAA acknowledges that media entities can sell advertising that accompanies the entity’s coverage of the NCAA championships.  However, similar to my discussion earlier this year on the use of Super Bowl trademarks (see here) and my 2018 discussion on the use of Olympics trademarks (see here), unless authorized by the NCAA, any of the following activities may result in a cease and desist demand:

  • accepting advertising that refers to the NCAA, the NCAA Basketball Tournament, March Madness, The Big Dance, Final Four, Elite Eight or any other NCAA trademark or logo (The NCAA has posted a list of its trademarks here.)
    • Example: An ad from a retailer with the headline, “Buy A New Big Screen TV in Time to Watch March Madness.”
  • local programming that uses any NCAA trademark as part of its name
    • Example: A locally produced program previewing the tournament called “The Big Dance:  Pick a Winning Bracket.”
  • selling the right to sponsor the overall coverage by a broadcaster, website or print publication of the tournament
    • Example: During the sports segment of the local news, introducing the section of the report on tournament developments as “March Madness, brought to you by [name of advertiser].”
  • sweepstakes or giveaways that include any NCAA trademark in its name (see here)
    • Example: “The Final Four Giveaway.”
  • sweepstakes or giveaways that offer tickets to a tournament game as a prize
    • Example: even if the sweepstakes name is not a problem, offering game tickets as a prize will raise an objection by the NCAA.
  • events or parties that use any NCAA trademark to attract guests
    • Example: a radio station sponsors a happy hour where fans can watch a tournament game, with any NCAA marks and prominently placed on signage.
  • advertising that wishes or congratulates a team, or its coach or players, on success in the tournament
    • Example: “[Advertiser name] wishes [Name of Coach] and the 2020 [Name of Team] success in the NCAA tournament!”

There is one more common pitfall that is unique to the NCAA Basketball:  tournament brackets used in office pools where participants predict the winners of each game in advance of the tournament.  The NCAA’s position (see here) is that the unauthorized placement of advertising within an NCAA bracket or corporate sponsorship of a tournament bracket is misleading and constitutes an infringement of its intellectual property rights.  Accordingly, it says that any advertising should be outside of the bracket space and should clearly indicate that the advertiser or its goods or services are not sponsored by, approved by or otherwise associated with the NCAA or its championship tournament.

It should be noted that the NCAA also imposes strict rules about the authorized uses of its trademarks.  The NCAA’s Advertising and Promotional Guidelines for authorized use of its marks are posted online (see here and here).

Again, importantly, none of these restrictions prevents media companies from using any of the marks in providing customary news coverage of or commentary on the tournament.  Just be sure that they are just used to identify the tournament and its stages, and don’t in any way imply that there is an association between the station itself or any sponsor or advertiser who does not have the rights to claim such association and the NCAA.

A Surprising History of “March Madness” (For Those Who May Like Sports Trivia)

The NCAA also may not have been the first to license the use of “March Madness.”  Beginning in the early 1990’s, the IHSA licensed it for use by other state high school basketball tournaments and by corporations.

Moreover, the NCAA did not originate the use of “March Madness” to promote its collegiate basketball tournament.  Rather, CBS broadcaster is credited with first using “March Madness” in 1982 to describe the tournament.  As CBS was licensed by the NCAA to air the tournament, the NCAA apparently claims that as its date of first use.

Finally, the NCAA was not the first to register “March Madness” as a trademark.  That honor went to a company called Intersport, Inc., which used the mark for sports programs it produced and registered the mark in 1989.

So, how did the NCAA get to claim ownership of the March Madness® trademark?  The short answer is through litigation and negotiations over a period of many years.  Although it has also been able to obtain federal registrations for Final Four® and Elite Eight,® it was late to the gate and was unable to snag “Sweet Sixteen” or “Sweet 16,” which are registered to the Kentucky High School Athletic Association (KHSAA).  (The NCAA, however, has the KHSAA’s consent to register “NCAA Sweet Sixteen” and “NCAA Sweet 16.”)

The Final Score

Having invested so much in its trademarks, the NCAA takes policing its trademark rights very seriously.  Even so, although the NCAA may call “foul!” and send a cease-and-desist letter over the types of activities discussed above, some claims may not be a slam-dunk as there can be arguments to be made on both sides of these issues.

If you are deciding whether or not to pass on accepting advertising incorporating an NCAA trademark or logo or using an NCAA trademark or logo other than in the context of reporting on the tournament, or if you are not certain whether the NCAA (or anyone else) owns a particular word or phrase as a trademark, you should seek an assist.  An experienced trademark attorney can help you make an informed decision about whether you can successfully post a defense against any such charge and assess possible risks.

The Idea of Musicality in Modern Dance Music

Delivered... ztippitt | Scene | Wed 10 Mar 2021 2:23 pm

How Depeche Mode (almost) became my own personal Jesus

Delivered... Dorian Lynskey | Scene | Wed 10 Mar 2021 2:00 pm

I thought I was a true fan of the synth-rock giants, but a convention showed me that I preferred music as a solo experience

The first time I really thought about fandom was the evening of 8 July 1990. The occasion was a convention of Depeche Mode fans at Camden Palace in London. I had only been one of them myself for 10 months, since hearing Personal Jesus on Radio 1’s Singled Out made my jaw drop, but I had been making up for lost time. I wasn’t just busy buying up every album, 7-inch and 12-inch that I could lay my hands on, I was also transcribing Martin Gore’s lyrics into an exercise book, painting sleeve art and learning to play the simpler tracks on a Casio keyboard. I don’t recall writing poems about them but let’s not rule it out. I wanted to be a True Fan and do what I thought True fans did, which was to join a fanclub and attend a gathering of the faithful.

Around that time, I filled out a personality test that concluded I was equal parts introvert and extrovert, so Depeche Mode were my ideal band. They sang about many of my pressing concerns – sex, death, guilt, spiritual confusion, gauche leftwing politics – and I could dance to them. I liked their story, too. After songwriter Vince Clarke quit in 1981, Gore had to reinvent the band on the hoof, trying out communist chic and industrial angst before finding that horny, morbid sweet spot on the Black Celebration album. At the same time, advances in synthesiser and sampler technology enabled their music to grow grander and sleeker. By the time I got into them, they were electronic music’s first arena band but still hadn’t lost their essential Basildon blokeyness. You could never be David Bowie but you could, with a bit of luck, imagine being genial synth-prodder Andy “Fletch” Fletcher.

Related: From the Band to Beyoncé: concert films to fill the live music black hole

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Tenement Kid: Primal Scream’s Bobby Gillespie to publish memoir

Delivered... Laura Snapes | Scene | Wed 10 Mar 2021 11:30 am

Book charts the singer’s journey from his childhood in Glasgow to his band’s breakthrough 1991 album Screamadelica and their notorious live shows

Bobby Gillespie is to publish a memoir spanning his childhood in a working-class Glaswegian family and the breakthrough of his band Primal Scream with their third album, 1991’s Screamadelica.

Tenement Kid took shape during the first year of the pandemic, Gillespie said in a statement. “At the beginning of 2020 I wanted to challenge myself creatively and do something I had never done before. I didn’t want to write another rock record, I’d done plenty of those, so, I decided to write a memoir of my early life and worked on it all through the summer, autumn and winter of 2020.”

Related: Bobby Gillespie remembers Andrew Weatherall: ‘He was a true bohemian’

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