Friday, February 3, 2006

The publishing of a series of cartoons of the Prophet Mohammad in a Copenhagen newspaper sparked a string of harsh and in some places violent reactions in the Middle East, forcing European leaders to try to calm the situation.

This backlash started in late September 2005, when the Danish newspaper Jyllands-Posten published a dozen cartoons depicting the Prophet Mohammad. The images ranged from serious to comical in nature; a particularly controversial cartoon portrays Mohammad with a bomb wrapped in his turban. The Jutland-based newspaper states that the images were meant to inspire some level of public debate over the image of Islam in Europe, and had no direct aim of offending anyone.

However, many Muslims follow the doctrine of aniconism concerning the portrayal of Mohammad. This tenet of Islam states that the Prophet Mohammad should not be depicted in any type of art, regardless of the intent of the piece. This belief, along with the potentially insensitive nature of some of the caricatures, have caused offense to many Muslims in the Arab world.

In the past month, the controversy over these cartoons escalated. The cartoons were re-published last month in Spain, Italy, Germany, France and the Netherlands (where the latter two nations have large Muslim populations), and have begun to re-circulate throughout the Middle East.

Many Danish companies have been targeted for boycotts. As Wikinews reported last week, Arla Foods, Denmark’s top dairy company, has seen their sales fall to zero in some Middle East nations. Carrefour, a French retail chain, has pulled all Danish products from its shelves in the region. Earlier this week, protests were held throughout the region, including the Gaza Strip in Jerusalem, where Hamas supporters led an assault and protest that surrounded the European Union offices for Israel.

Hamas members, some armed with guns, stormed the EU office (which is primarily staffed by Arabs) and demanded apologies from EU member states, saying they would otherwise face serious consequences. “It will be a suitable reaction, and it won’t be predictable,” said Abu Hafss, a member of the Al Quds Brigade (an affiliate of the group Islamic Jihad), in a press conference outside the EU offices. And the Abu al-Reesh Brigades, a group related to the late Yassir Arafat’s Fatah party, warned that EU member states had 10 hours to apologize for the cartoons or their citizens would be “in danger”.

Jamila Al Shanty, a newly elected Hamas legislator, stated that more rallies will be planned in protest of the cartoons. “We are angry – very, very, very angry,” Al Shanty said today, adding that “No one can say a bad word about our prophet.”

The Iranian newspaper Hamshari daily has stated that on February 8 it will publish anti-semitic cartoons in response to the Danish cartoons, apparently failing to notice that Denmark has only a tiny Jewish population, since most escaped to Sweden during the World War II Holocaust. The newspaper says that the cartoons will lampoon the Holocaust despite denials by the Iranian government that the Holocaust even happened.

Jyllands-Posten, the newspaper that first published the cartoons did issue an apology to Arab countries on Monday, shortly after the EU office incident. But with the support of the government of Denmark, the newspaper had earlier defended its actions fiercely, citing the universal right to free press, and its duty to serve democratic traditions by inspiring debate. Indeed, Anders Fogh Rasmussen, Prime Minister of Denmark, said “We are talking about an issue with fundamental significance to how democracies work.” In fact, some European pundits have placed more fault on Muslims for refusing to “accept Western standards of free speech and pluralism”. When the cartoons were originally published in 2005 they were intended to highlight and redress the unequal restrictions applied to Islamic content in European newspapers in comparison with content referring to other religions. The cartoons are also self-referential, with one character in the cartoons writing in Arabic on a blackboard “Jyllands-Posten’s journalists are a bunch of reactionary provocateurs”, and another cartoon showing a cartoonist having to work in hiding because one of the cartoons he is drawing includes an image of the Prophet Mohammad. The text around the cartoons stated:

“The modern, secular society is rejected by some Muslims. They demand a special position, insisting on special consideration of their own religious feelings. It is incompatible with contemporary democracy and freedom of speech, where you must be ready to put up with insults, mockery and ridicule. It is certainly not always equally attractive and nice to look at, and it does not mean that religious feelings should be made fun of at any price, but that is less important in this context. […] we are on our way to a slippery slope where no-one can tell how the self-censorship will end. That is why Morgenavisen Jyllands-Posten has invited members of the Danish editorial cartoonists union to draw Muhammad as they see him. […]”

However, some world leaders have elected to help defuse what could be a major social crisis in Europe and the Middle East. France’s foreign minister Philippe Douste-Blazy said that freedom of the press should be exercised “in the spirit of tolerance”, sentiments which were echoed by United Nations General Secretary Kofi Annan. Ursula Plassnik, foreign minister of Austria, said that the European community must “clearly condemn” acts which insult religion. And Hamid Karzai, president of Afghanistan, warned Europe that “any insult to the Holy Prophet (Peace Be Upon Him) is an insult to more than one billion Muslims and an act like this must never be allowed to be repeated.”

Rasmussen, in an interview with Arabic TV Al arabia, said that “…Danish government condemns any expression and any action which offends people’s religious feelings…” and also said that he does not understand why, as the cartoons were originally published in September, the situation has only truly started to deteriorate in the past week.

In Denmark, there are counter-demonstrations by moderate Muslims saying they don’t want the images banned. Munira Mirza commented that many Muslims “want to be able to say: ‘Hey we’re not children, we can handle criticism, we don’t need special protection – we’re equal’. Many don’t want to be treated as a special group, seen as worthy of more protection from criticism than other groups because of their apparent victim status.”

Religious satirist Stewart Lee commented that Jyllands-Posten had “tried to deal with a subject they don’t know enough about, and this is one of the teething problems of the cross-over of cultures in the world. I’m sure the level of offence is far greater than would have been intended.”

The director (Directeur de publication) of “France Soir“, a French national newspaper was fired in response for publishing a cartoon titled: “Yes, we have the right to (joke about) characterise God” (Oui, on a le droit de caricaturer Dieu). The “France-Soir” web site is presently offline. The cartoon is partially visible on a nouvelobs.com website.

Today, Libération, another French national newspaper, is publishing two of the “Mohammad Cartoons”. Other newspapers across France are asking for their rights to freedom of the press to be defended.

Charlie Hebdo, a well-known satirical newspaper, will publish articles to support cartoonists, freedom of speech and freedom of the press.

The general reaction in France seems to be that most citizens except religious people (Catholics, Muslims,…) are astounded by the level of anger against the “Mohammad Cartoons”.

On February 9 2006 Queensland Premier Peter Beattie gave The Courier Mail Newspaper his blessings in publishing the Jyllands-Posten Muhammad cartoons/depictions of Muhammad stating that he is a firm believer in free speech and ones freedom of expression.On the very same day he got his legal representative to write to the author of this site photoduck.com demanding he censor material relating to him and his Government.

Although many newspapers have not republished the cartoons in order to avoid backlashes, the drawings have appeared on the Internet and are being revealed at a number of Web sites and blogs. On January 30th, Fox News contributor Michelle Malkin placed the drawings on her blog, and encouraged others to do the same.

Saturday, June 21, 2008

At the 2008 edition of the NHL entry draft in Ottawa, Steven Stamkos’ long-anticipated selection first overall by the Tampa Bay Lightning may have been overshadowed by numerous trades and signings made on the draft floor.

Before even the first pick was made, the Calgary Flames had acquired Mike Cammalleri in a three-way trade. Calgary’s pick, 17th overall was traded with the Los Angeles Kings’ pick, 28th overall, to the Anaheim Ducks. The Kings received the Ducks’ pick, 12th overall. Later, the Flames shipped forward Alex Tanguay and fifth-round pick to the Montreal Canadiens for the 25th overall selection and a 2009 second-round pick.

The Florida Panthers also made a major trade at the draft, moving their captain, Olli Jokinen to the Phoenix Coyotes for two defencemen, Keith Ballard and Nick Boynton as well as the 49th overall selection. The Columbus Blue Jackets made a major trade of their own, picking up R.J. Umberger and the 119th pick overall from the Philadelphia Flyers in exchange for the 19th and 67th picks, overall.

Out of the first 30 picks in the draft, 17 had been traded around between teams. The first round was rich in defencemen; out of thirty players picked, half were defencemen. After Stamkos was picked first overall, the next four picks, Drew Doughty, Zach Bogosian, Alex Pietrangelo, and Luke Schenn were all blueliners.

The hosts, Ottawa Senators, also made numerous moves. The Senators traded up to the 15th pick overall to draft Erik Karlsson. Earlier in the day, the had also resigned Chris Kelly to a four-year, $8.5 million contract extension. Previously, the Senators also waived goaltender Ray Emery. Emery could be bought out as early as today.

The NHL free-agency season starts July 1.

Thursday, June 28, 2007

The European Space Agency (ESA) is seeking volunteers who would be ready to take a part on three simulated missions to Mars.

The anticipated missions will be a joint effort from ESA and the Russian Federal Space Agency. Each crew will consist of six persons – two Europeans and four Russians. The ESA is looking for 2 crewmembers and two backups that must come from ESA member nations that participate in the ELIPS program.

The flight simulation should last between 105 to 520 days in a closed modules set of total space of 500 m³. The goal of the mission is to test the psychological stress of the long-distance travel. To make the experience as realistic as possible, the contact with the external world shall exist only via the radio with a time-delay of 40 minutes (simulating the time required for signals to travel between the Earth and Mars).

The first test of 105 days should start in middle of 2008 and the last one should start at the end 2008 or the beginning of 2009.

Interested persons can apply via an application form published on the ESA website.

Wednesday, August 17, 2005

Vassar Clements, age 77, a legendary fiddle player who took bluegrass music from an obscure cultural art form to a mainstream influence, and who played on over 2000 albums, passed away at his Goodlettsville, Tennessee home August 16th 2005 at 8:35 am Nashville time (CST) from lung cancer which had metastasized to his liver and brain.

Mr. Clements taught himself to play the fiddle at age 7, and though he had no formal training was recognized as one of the world’s most versatile fiddle players and was considered a virtuoso. The first song he learned was “There’s an Old Spinning Wheel in the Parlor”. He described his talent saying, “It was God’s gift, something born in me. I was too dumb to learn it any other way. I listened to the (Grand Ole) Opry some. I’d pick it up one note at a time. I was young, with plenty of time and I didn’t give up. You’d come home from school, do your lessons and that’s it. No other distractions. I don’t read music. I play what I hear.”

He didn’t always earn his living playing music, though. In the mid-1960s he was employed briefly at the Kennedy Space Center in Florida, where he worked on plumbing. He also performed several other blue-collar jobs including work in a Georgia paper mill, as switchman for Atlantic Coast Railroad; he even sold insurance and once owned a potato chip franchise.

In his 50 year career he played with artists ranging from Woody Herman, and the Nitty Gritty Dirt Band to The Grateful Dead, Linda Ronstadt and Paul McCartney, and earned at least five Grammy nominations and numerous professional accolades. He once recorded with the pop group the Monkees by happenstance, when he stayed behind after an earlier recording session. He also appeared in Robert Altman‘s 1975 film “Nashville”.

His 2005 Grammy award for best country instrumental performance was for “Earl’s Breakdown,” by the Nitty Gritty Dirt Band, and featured Mr. Clements, Earl Scruggs, Randy Scruggs and Jerry Douglas.

Mr. Clements, whose last performance was February 4 in Jamestown, N.Y., was hospitalized earlier this year for 18 days to receive chemotherapy and other treatment. He had been diagnosed in March 2005.

Born in Kinard, South Carolina, his musical career began at age 14 when he associated with Bill Monroe, and later officially joined the Blue Grass Boys band where he remained for seven years. In 1957 he joined bluegrass band Jim & Jesse McReynolds where he remained until 1962. In 1967 he returned to Nashville where he became a much sought after studio musician.

After a brief touring stint with Faron Young he joined John Hartford‘s Dobrolic Plectral Society in 1971 when he met guitarist Norman Blake and Dobro player Tut Taylor, and recorded Aereo Plain, a widely acclaimed newgrass album that helped broaden the bluegrass market and sound. After less than a year he joined Earl Scruggs, who first earned widespread renown for playing the theme to sitcom The Beverly Hillbillies.

His 1972 work with the Nitty Gritty Dirt Band on their album Will the Circle Be Unbroken earned him even wider acclaim, and later worked with the Grateful Dead’s Wake of the Flood and Jimmy Buffett‘s A White Sport Coat and a Pink Crustacean.

Though he played numerous instruments, Mr. Clements indicated that he chose the fiddle over guitar recalling that, “I picked up a guitar and fiddle and tried them both out. The guitar was pretty easy, but I couldn’t get nothing out of the fiddle. So every time I’d see those instruments sitting side by side, I’d grab that fiddle.”

Big band and swing music were considerable influences upon his style and musical development, and he said that, “Bands like Glenn Miller, Les Brown, Tommy Dorsey, Harry James and Artie Shaw were very popular when I was a kid. I always loved rhythm, so I guess in the back of my mind the swing and jazz subconsciously comes out when I play, because when I was learning I was always trying to emulate the big-band sounds I heard on my fiddle.”

His last album ‘Livin’ With the Blues’, released in 2004, featured guest appearances by Elvin Bishop, Norton Buffalo, Maria Muldaur and others.

Mr. Clements’ daughter Midge Cranor wrote on his website [1] that “As I was still holding his hand his breathing stopped. I looked at the clock and it was 7:20 am.”

Mr. Clements’ remains have been transported to Bond Memorial Chapel, 1098 Weston Drive, Mt. Juliet, TN 37122; (615) 773-2663.

Friday, March 30, 2007

Israeli firm Environmental Energy Resources (EER) has announced that it has developed a new technology, plasma gasification melting technology (PGM), to safely dispose of low- and medium-level nuclear waste. Extremely high temperatures are used to turn the waste into a mildly radioactive glass-like substance, which can be used as a building material. The process also releases an extremely hot mixture of gases that can be used to power steam turbines, generating electricity. The company claims that 70% of this electricity is used to drive the PGM process, while 30% is available as exportable energy.

Thursday, January 14, 2010

Digital radio listeners in the UK may have noticed a new station on their list over the last few months with the beta launch of Amazing Radio, founded by Paul Campbell as a follow up and companion to Amazing Tunes. However, unlike the majority of the other stations on both digital and FM, Amazing Radio doesn’t play normal, mainstream music. Instead, its playlist consists solely of music from unsigned bands and artists who have signed up and uploaded their music to AmazingTunes.com. Their music can then be downloaded from the site, for which they get paid. The more downloads and interest an artist receives, the more likely they are to get played on the national radio station. Amazing markets itself as an “ethical” download website, on which artists get 70% of the download revenues. They now have more than 22,000 songs uploaded, with about 100 uploaded every day.

Paul Campbell himself has extensive experience in both radio and television production, having worked for BBC Radio 4 and Channel 4. After success with his own production company in the nineties and with support from investors, Campbell launched Amazing Tunes in 2005.

As Amazing Radio introduces a new schedule for the New Year, with presenters rather than solely pre-recorded links, Wikinews reporter Tristan Thomas interviewed Campbell to find out more.

((Wikinews)) Hi Paul, thanks for doing this interview.

((Paul Campbell)) My pleasure – thanks very much for asking me. We’re really grateful that Wikinews is interested in us.

((WN)) At the end of 2009, you complained to the BBC Trust about BBC Introducing. Can you explain what this was about and the reasons for it. Has anything come of it?

((PC)) Sure: in a nutshell, the complaint was about unfair competition – about the BBC not following its own rules. It’s still ongoing. It will take, ahem, a while to resolve.

The details are a bit complex, but here goes. (If you commit suicide out of the boredom at what follows, I apologise).

As British readers will know, the BBC has a guaranteed and very comfortable income derived from the Licence Fee – effectively a tax you have to pay if you want a TV. According to Wikipedia (so it must be true), this generates an income to the BBC of about stg4.5bn per annum. Nice.

Not really. In recent years the beeb has increasingly used this gargantuan income – and its incredible audience reach online, on radio & TV – to launch new services that make life impossible for everyone who is not the BBC. These have ranged from e-learning content (that completely wrecked the market for private publishers), to a new digital radio station (that caused a private speech station to go bust), to an attempt to launch online regional news services (which caused howls of outrage from local newspapers). The BBC does it for the best of reasons – to provide a public service – but BBC people live in an insulated, publicly-funded world, one where you know with complete certainty you’ll get paid on the 15th of every month. It’s a million miles away from the real world, where entrepreneurial people take risks, and lose their jobs and their houses if it goes wrong. Here, the BBC’s actions have grave implications. And not just for private companies: the UK as a whole is very good at creative industries, which are the fastest-growing part of the economy. But it’s kinda hard to grow a global business if your domestic market has been wrecked by a rampaging, publicly-funded, bull in a china shop. So by accidentally knackering private companies, the BBC is also damaging the British economy.

Wise people noticed this. A few years ago the Governance of the BBC was changed. A new regulator, the BBC Trust, was created. It tried to address the problem. It insists the Corporation does a ‘public value test’ when it wants to launch a new service, or to expand an existing one.

Here, it hasn’t. Although the BBC has a longstanding commitment to play new music on its local radio stations, and one of its most famous DJs John Peel had an outstanding show on BBC Radio 1 for many years which played new music (and was, incidentally, produced by one of our new presenters), it’s suddenly changed the game. It’s launched a huge expansion and automation of this formerly piecemeal and limited activity, targeted exclusively at unsigned bands. BBC Introducing is a pan-BBC brand, combining local and network radio, television, online, even a special stage at Glastonbury. There’s a very expensive online upload service which I just know would have cost ten times what we had to spend on our similar service. There’s a Head of Department, doubtless with dozens of staff. I’ll bet they have BBC Introducing pens. It’s everywhere.

This is, by any reckoning, a ‘new service’. But it’s not been subjected to a public value test. Worse, I have it on very good authority from someone inside the BBC that BBC Worldwide – its commercial arm – is planning to launch a BBC Introducing record label – i.e., an overtly commercial expansion of BBC Introducing. This would be like the BBC trying to create a new version of the music industry, all by itself.

Whether or not you think it’s a good thing for the beeb to champion new music, you may agree it should follow its own rules. It hasn’t. There was no Public Value Test; no request to the Trust to be allowed to do this.

So we complained. It was a bit hilarious. The Trust said they weren’t allowed to investigate until we’d complained to the beeb itself and the BBC had rejected our complaint. There was a long pause as I tried to understand the logic. I said ‘I’m guessing the BBC didn’t do a PVT because it didn’t think it needed to do a PVT. We think they should have done. We’re asking you to investigate, to see if you agree’. They said ‘you have to complain to them first. It’s protocol’. It’s all very British – i.e., charmingly polite … ludicrously bureaucratic … and totally useless.

So we have another hoop to jump through. We’re now preparing our formal complaint to the BBC itself – whose Director General is someone I used to work with, when we were both fresh-faced BBC trainees in 1981. It takes time: I’ll have to write it myself, and I have a business to run. The beeb will have a small army of staff whose only job is to read it … and reject it. (They always reject criticism; it’s the BBC’s default position. They usually do it with a slightly pained expression, hurt that anyone could fail to understand their brilliance and omniscience. Either that, or they try to demolish your intellect and cast doubt on your probity. Either way, they’ll reject it).

When they do, we’ll then be able to go back to the BBC Trust to say ‘guess what? The BBC rejected our complaint. Now will you investigate?’. Yawn.

All this might make me seem a BBC-hater. Actually nothing could be further from the truth. The BBC trained me. I was once, so I was told by the Head of Appointments, its youngest-ever Producer. Despite appearances, I firmly believe it’s one of the best things about the UK. I wrote to The Times of London recently in defence of it. But unfortunately it’s really, really bad at understanding the damage it does to private companies, the ones like ours that create jobs and try to create wealth, without the benefit of a guaranteed income. (Or even, any income at all).

The stakes are high. The conventional music industry is falling to bits around us. There’s an historic opportunity to re-invent music in a way that’s fair to musicians and music-lovers, and also creates jobs and wealth in the real economy. It’s vitally important the BBC, with its publicly-funded hobnailed boots, doesn’t ruin that opportunity.

So we’ll do our complaint, wait for it to be rejected, complain to the Trust, and keep battering away. Fun fun fun. (This would never happen in the States).

((WN)) You don’t accept any PRS registered artists at all. Why not?

((PC)) We’d love to – after all, we have the same aim as PRS, which is to make it easier for musicians to earn a living from their talent. But we can’t. There’s two reasons.

1. PRS has a barmy standard contract for using their members’ music online. It requires us to pay them a fixed percentage of ALL revenue from that website – whether or not the revenue is derived from their members’ work. So if we had 100,000 songs from non-PRS artists on amazingtunes.com, and one song from a PRS artist, we’d have to pay them a percentage of the revenue from ALL 100,000 songs. I.e., we’d have to take money out of the pockets out of non-PRS artists to pay to PRS. That would be immoral.

2. If we played PRS artists on the radio, we’d have to pay PRS for our use of their members’ music. Sound fair enough? But PRS doesn’t know what to do with the money. They’d put it into a big bucket, then share it out among ALL their artists – not the members whose songs we played, all their artists, including rich and famous signed ones. The vast majority of PRS payments go to a tiny minority of artists (and big record labels). So it would be another case of stealing from Peter to pay Paul. Paul McCartney, that is.

I wrote to the CEO of PRS when we first launched Amazing Radio pointing out these absurdities and asking if we could do a more intelligent deal. I said that I thought we had identical aims – to make life fair for musicians. I suggested we could/should be a feeder to them, introducing new members to PRS as they grew in the music industry. But so far, the PRS head is still firmly in the sand.

((WN)) And how would you suggest PRS could improve? If they did, would you consider allowing artists registered with them?

((PC)) PRS could improve by;

a. buying some computers (so they could handle our comprehensive data about the tracks we play, and then pay the right people);

b. accepting that we want to mix PRS and non-PRS artists, and only asking for a share of the artists they actually represent.

If they did that, we’d sign up. This would not necessarily be popular with our audience. A lot of people – especially charities and small businesses – like the fact that they can listen to Amazing Radio without a PRS licence. But we’d do it anyway, as it would be a better service for musicians.

My personal view is that the PRS should also stop threatening to murder law-abiding people who want to listen to music at work. There was a recent case where they threatened someone for singing at work. They actually did that. They later apologized, but it revealed the corporate mentality. I think it’s incredibly counter-productive; it means their members make less money, not more; it’s ruining perceptions of what motivates musicians; it’s causing thousands of people to stop listening to music. When really, PRS should be encouraging that, shouldn’t it?

((WN)) With regard to Amazing Tunes, how many downloads could your most popular artist expect to receive per month and monetary wise, how would this compare to them receiving that number from iTunes?

((PC)) Sorry, but we don’t currently release detailed figures – our competitors would love it, but we’d rather be nice to our artists and our investors instead. We do say that we expect amazingtunes.com artists to make ‘anything from a few quid, to a good living, to a small fortune’. At the moment, because it’s still very early days, people are clustered towards the first two of those options. As things grow – and there’s been incredible growth even in the past few months – we hope/expect more and more artists will start to make tens of thousands of pounds each month. We’ll soon register for the official chart, and our guess is that someone will have a major hit before long. Then everything will go really crazy.

So far as the iTunes comparisons go, the facts are already public domain. An artist on iTunes can expect to make 8p from a 79p download. The same artist on amazingtunes.com will make about 52p. We only deduct the VAT and the cost of the transaction: 70% of what’s left goes to the artist. What’s more, their income will improve over time – the more downloads we sell, the less the transactions cost us, so the more cash there is to give to the artists. That’s one reason we ask people to buy eight or more songs in one transaction – it’s much more cost-effective, less of their cash goes to VISA, more to the artist. (See my Blog post on this here – [1]).

((WN)) Amazing Radio launched in mid-2009. How has it grown since then and what are your current listening figures?

((PC)) It’s gone mad since then. I’ve worked in broadcasting and the media since 1978 (I was very very young then, mind you). I’ve never known anything like it. The reaction has been absolutely incredible – and it’s growing faster than ever right now. The most humbling thing has been the audience feedback – masses of long emails from people we’ve never met, saying they found it by accident, and they love it.

We’ve not yet paid for RAJAR audience figures because – well, because we’re a bit mean really, and I’m not convinced they would accurately measure our audience. I think RAJAR is very good at coming out with figures for radio stations that have been going for 40 years, but not very accurate when it comes to new and innovative stations which are also listened to a lot online and especially popular with young people. But the best guess I’ve heard in the industry is that we have something like 600,000 listeners in the UK on DAB. That’s an estimate, but it came from a very wise source. We have slightly more than that number on top as regular users online, and a weekly reach for amazingtunes.com of about two million users. But it’s all growing so fast, those numbers will be out of date by the time you read this.

((WN)) DAB transmission costs are well over half a million pounds a year. How is this being funded currently and how are you planning to fund it in the future?

((PC)) We’re not contractually allowed to tell you what we pay, so we can’t confirm or deny the cost. Whatever the true figure, it is undeniably expensive; but it gives our musicians a chance to be on national radio. We figure it’s worth it. I’m reminded of that wonderful teachers’ union bumper sticker: ‘if you think education’s expensive, try ignorance’. If you think creating the world’s first radio station playing 100% new music is expensive …. try being inaudible.

So far, we’ve been funded by a very small number of private investors, people of enormous wisdom and insight, natch. They understand that we have a very serious, long-term and audacious ambition to change the music industry for the better, to make radio interesting again, and to turn the word ‘amazing’ into a global challenger brand.

This year, we expect to do one final fund-raising in the UK, then to raise a lot of money on the West Coast of the USA to make this absolutely massive and global, fast. They understand this scale of ambition there.

((WN)) What are your plans for Amazing Radio in 2010? Any exciting announcements to come?

((PC)) ‘Fraid so.

In 2010, we hope to make Amazing Radio the default station for everyone who has ever had that incredible experience of hearing a song for the first time, and having to stop what you’re doing to listen to it: a station for everyone who has broad musical tastes, a respect for musical talent and an open mind. We want it to be constantly surprising, fresh, original, sometimes hilarious, always unexpected.

Blimey, I sound like some corporate twat.

Now (obviously) it wouldn’t be massively unexpected if we suddenly started revealing all the unexpected things in advance – but basically, we’d like the message to spread that we’re doing something different, fresh, original and ethical – so we’ll launch more new programmes and more new services – on Amazing Radio and amazingtunes.com. Things like our virtual radio station Amazing Ambient. [2]. There’ll be some video and some TV along soon too. And other cool stuff.

It may not be ‘insanely cool’; just cool will do just fine.

We also want to do it in other places. E.g. America. We’ve already started there. We’ll be unexpected there too.

((WN)) Finally, your favourite artist on Amazing Tunes/Radio at the moment?

((PC)) Now this will sound like a real cop-out, but I never ever say who my favourite artist is. It’s for a serious reason. I’m not some musical Einstein – I’m merely the bloke who started amazing. And I’m merely a drummer. My taste doesn’t matter. EVERYBODY’s musical taste does. One of the many problems of conventional record companies is that they think geezers in suits in big glass buildings have the right to decide what’s good music. We think the world does. I’ve found hundreds of incredible songs that I love, across loads of styles of music. You’ll find hundreds of your own. Enjoy.

((WN)) Thank you very much for your time Paul. Good luck for 2010.

((PC)) Thanks very much, we really appreciate it. 2010 is going to be amazing.

Wednesday, December 31, 2008

What would you tell your grandchildren about 2008 if they asked you about it in, let’s say, 20 years’ time? If the answer to a quiz question was 2008, what would the question be? The year that markets collapsed, or perhaps the year that Obama became US president? Or the year Heath Ledger died?

Let’s take a look at some of the important stories of 2008. Links to the original Wikinews articles are in all the titles.