Deal offers YouTube community access to fully licensed, indie-based music for use as soundtrack material in videos via

free AudioSwap music tool

 

Portland, OR â?? December 3, 2008 â?? YouTubeâ?¢, the worldâ??s most popular online video community, has partnered with the sonic branding and music licensing agency, Rumblefish, providing millions of video creators access to fully licensed music from the Rumblefish catalog of independent artists.

 

Dubbed the â??iTunes of corporate Americaâ? by CNBC, Rumblefish is providing YouTube video makers access to its audio library of over twenty-five thousand original songs through YouTube AudioSwap. People can use the AudioSwap tool to add licensed music tracks to their videos and share with the YouTube community (http://www.youtube.com/audioswap_main).  This unprecedented deal gives the YouTube community more music choices, — including independent, authentic sound from up-and-coming artists around the world.

 

Since YouTube launched AudioSwap in February 2007, YouTube users have been able to sample and select pre-licensed music for the purpose of soundtracking their videos, adding songs for meaning or emphasis, or musically updating an existing video with a complete music swap. Todayâ??s unprecedented Rumblefish deal furthers YouTubeâ??s goal of being a one-stop shop for people to watch user-generated films, professional music videos, and premium content.

 

â??The combination of Rumblefishâ??s extensive catalog of independent music with YouTubeâ??s global community and AudioSwap technology creates a powerful new music hub,â? said Glenn Brown, Strategic Partner Manager, YouTube.  â??Through this partnership, the YouTube audience will have easy access to the same extensive list of premier, licensed Rumblefish tracks that professional industry media creators use when making their videos.â?

 

Regarding the partnership, Paul Anthony, Rumblefish CEO added, “Our customer, the professional film-maker and industry story-teller, taps the Rumblefish catalog when they need carefully curated music for films, TV shows and videogames.â?Â  He continued, â??This deal is exciting for indie filmmakers because it connects them directly to the same pre-licensed, quality indie music at no cost to them.â?

 

Rumblefishâ??s diverse catalog includes everything from ambient, metal, experimental and electronica to the classics and full orchestral scores, giving Rumblefishâ??s customer and now YouTube video creators a complete palette to choose from. Opening Rumblefishâ??s catalog to hundreds of millions of YouTube users will also empower independent artists to generate revenue that was previously untapped prior to this arrangement. 

 

 The Rumblefish music catalog on YouTube will be accessible for users today through a free AudioSwap tool that will replace the entire audio track of a video with licensed music.  Click here for more information on AudioSwap: http://www.youtube.com/audioswap_about

 

# # #

 

 

About Rumblefish

Rumblefish Inc. has been a pioneer in the development of strategic sonic branding and music licensing services since 1996. The multidisciplinary agency develops sonic profiles that express clientsâ?? unique brand attributes and creates sonic branding programs to enhance the customerâ??s experience with sound. Rumblefish also launched the first online Music Licensing Store (MLS) to make licensing music fast, easy and affordable. MLS, â??an iTunes for Corporate Americaâ? (CNBC, January 2007)), offers a broad range of authentic, independent music for use in television programs, films, Web sites, podcasts and more. Rumblefish clients include Kaiser Permanente, National Australia Bank, NBC-Universal, HBO, Nike, The North Face, adidas Originals, Umpqua Bank, Red Bull, MTV, Mitsubishi and Pabst Blue Ribbon. For more information, please visit www.rumblefish.com.

 

 

Rumblefish Contact:          Dawn Leonetti                                                                                

e: dawn@rumblefish.com

p: 503.819-0845

 

YouTube Contact:              Kathleen Fitzgerald

                                                e: press@youtube.com

                                               

 

                         

 

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Next stop for the licensing team is Promax (NYC, June 17, 18, 19), the marketing and promotions conference for TV and Cable companies. We have a booth there as well so come and visit!

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NARM/ Digital NARM :: San Francisco, CA :: May 7, 2008

Corey Denis, Director of Marketing (that’s me) is attending Digital NARM in San Francisco May 6- 7, 2008

San Fran Music Tech Summit II – May 8, 2008

Paul Anthony, Big Fish (Rumblefish CEO & Founder) is scheduled to give a presentation about Sonic Branding & Music Licensing

Corey Denis, Director of Marketing is moderating a panel at the San Fran Music Tech Summit

In addition, Rumblefish is excited to provide music for the San Fran Music Tech Summit. Join us for a day of phenomenal speakers hailing from imeem, Warner Brothers Records, Pandora, A2IM, INgrooves, IODA, Rhapsody, Sony BMG, CD Baby, Electronic Frontier Foundation, YouTube, Future of Music Coalition, Rumblefish (yay!) and many more…

The Cable Show :: New Orleans :: May 18 – 20, 2008

Paul Anthony, CEO, Richard Jankovich, Director of Licensing & Dan Holmes, Licensing Rep will be at Booth #545 at The Cable Show May 18 – 20 in New Orleans.

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It’s time again for the broadcast industry to descend upon Las Vegas for the NAB Show Conference. This year we’ve decided to take it off The Strip for one night and toss a Soiree.
This most excellent party is in downtown Las Vegas at the Beauty Bar on Monday, April 14th from 7PM – 10PM, and includes complimentary Limousine Service, open bar, and delicious hor d’ouvres.

DJ Mark Rae (Yes King) w/ Cez

Limousine service between the Las Vegas Strip and the Beauty Bar (you will receive details with your RSVP Confirmations)
Super Stretch Limos provided between 6:30pm – 10:30pm.

RSVP: rsvp[at]rumblefish.com

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This one disappointing conversation happened last Saturday in Walvis Bay, Namibia. I haven’t limited my opinions to this one chat with one carbuncular face; there have been dozens more equally unsatisfactory in my informal polling of the local populace from Luderitz to Swakopmond. All in all I estimate I’ve popped the “What are you listening to?” question to about 40 young Namibians and each reply with generally the same answer…hip-hop.

At first I thought to myself, “excellent, I’m a fan of hip hop and make the genre a regular rotation on my iPod; I’d love to score some great local talent.” My next question naturally always is, “Who are you listening to?”

The answers are typically the same ten or fifteen artists: Ludacris, Nelly, Snoop Dogg, Chamillionaire, 2Pac, Ja Rule, Fat Joe, Dr. Dre, Jay-Z, P. Diddy, DMX, and other equally famous and equally overplayed stars. This is where it gets frustrating for two reasons.

First reason is I already have these artists on my iPod.

Second reason is Namibians define American music with these ten to fifteen superstars. Every person alive has their own idea of what defines American music, so who am I to judge if this is the way Namibians define our music? Because, damn it, I have worked with and for and become friends with many of those unknown, un-famous, un-star artists who make up the vast majority of creative musical talent in America. Music that is silently sitting on that seldom visited MySpace page begging to be heard. Music on that hand scribbled CDR submitted to the record labels and music licensing companies. Music that is so flippin’ good that the little corner bar or coffee shop has to feature them two nights per week to handle the crowds. Music that will never make it to Namibian speakers.

People can’t make decisions or definitions without knowing the facts and the fact is a definition can’t be made based on the insignificant piece of the American musical pie Namibians listen to. How can a person living in Namibia define what American music is when they will never be exposed to independent American music? They can form their own definitions, with a little effort from both corners of the Atlantic.

I challenge any independent American musician reading this to make an effort to distribute and market your music to Namibians. It’ll probably help that you’re a hip-hopper, but I know there are 1.9 million people living in this country that are starving for new sounds.

I challenge any Namibian reading this to visit the nearest Internet cafe and go to MySpace.com, SonicBids.com, CDBaby.com, Imeem.com, MusicLicensingStore.com, or any other website where independent musicians promote themselves. Spend an hour and you’ll find more music that you’re fifteen superstars have ever created.

So to all you musicians of America, help the people of Namibia define American music by providing your piece of it. And to all the American music fans of Namibia, seek out independent American music to help you form your own definition of what American music is.

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While attending SXSW, Paul Anthony, CEO, and I, Corey Denis, Director of Marketing, had the opportunity to see up close how the little-industry-that-could (that is, the music licensing industry) was on everyoneâ??s mind. Room 15 at the Austin Convention Center on March 14 unleashed the SxSW 2008 â??killer appâ? for the music portion of Austinâ??s yearly conference. The room was packed to standing room only – and the reason was clear: with an industry losing money faster than Apple can ingest new content from lesser known bands, the financial prospects of music licensing are finally appealing in such a way that this opportunity to build the New Music Economy has emerged to the forefront of a financially viable music business strategy.

Journalists from the Wall Street Journal, New York Times, Wired Magazine, most recently the Chicago Tribune, bloggers, new and old media (…and don’t forget Moby) found reason to comment or write their post-SXSW articles about the state of the New Music Economy and what it means as the new Tipping Point for music as a business and creative entity. The big takeaway from SxSW this year was more than a margarita and a really really heavy SWAG bag; finally an industry collectively reached a better understanding of how to monetize music and increase artist visibility all at once.

This very model is the core business of Rumblefish, and our business just grew. Weâ??re turning heads, and building our stamina for another 20+ years of business. Starting in 1996 from the depths of CEO & Founder Paul Anthonyâ??s college dorm (and car) came the Rumblefish ethos. Anthony, a Music Composition major at the University of Oregon, licensed his homework successfully to filmmakers to make ends meet. The music school got angry, but the business school took notice, and Anthony went from majoring in Music Composition to Business – and has lead a growing music licensing company ever since.

For 12 full years, Rumblefish has been quietly licensing music to HBO, IFC, Adidas, Red Bull, Video Games, Extreme Sports and brands from around the world and now weâ??re ready to make some noise. Our business model is â??the twitter of â??08â? for the SxSW Music Conference. Yep, that’s what i said: licensing music for commercials and brands is the killer app of sxsw music. For smaller projects who need music quickly and legally, we have a Music Licensing Store , singing the praises of pre-cleared tracks which are made available in our store to thousands of music supervisors searching the Music Licensing Store for emotive search terms like “humble” – or (this is true) “love at first sight.”

Rumblefish works with such great success because our company is two-fold. We are not a music library. We urge Music Supervisors to kick the canned music. We are a high level high quality music boutique, and we own our own Sonic Branding agency. We are a company of artists, regularly curating the best music from around the planet while our world-leaders in sonic branding accrue branding clients for specialized holistic sonic branding campaigns. Meanwhile, our Licensing team is regularly talking with the best film, video game, advertising and television music supervisors to assist them with their music choices, all the while pointing our partners and clients toward the Rumblefish Music Licensing Store, where any music supervisor can search our curated catalog for the perfectly emotive music, and pay for the license. Right then. Right there. Itâ??s done. Itâ??s legal. Even Vloggers have an outlet for music now â?? totally hassle free, a vlogger can use our store to legally obtain the license to sync music with their video.

One single music license takes an (underestimated) average of 30 person-hours to acquire. Licensing a track from the Rumblefish catalog takes a music supervisor approximately 3 minutes. Naturally, when the killer music app (licensing) became apparent, and apparently profitable, at SXSW 2008â??s more academic moments, Rumblefish took pride in a business model that works. We are a company of musicians growing a business that works for music. We ask our branding clients What does your brand sound like? (sm) and we seek out the highest quality music with enough confidence to offer a non exclusive agreement to artists & labels. Which means, if they think they can find a better agency to Sync their Music â?? we think they should try! (but we know they wonâ??t!) We cut checks for artists, and we forge interesting licenses (posted on our blog). It makes us proud. Businesses who use our music make more money. It makes us proud. We arenâ??t a library. Which also makes us proud.

Most common question from audiences when we do presentations: â??What about artists selling out?”

Personally, thatâ??s my favorite question. Selling Out was a viable concept for artists and labels to cling to when music sales were the basis of a viable music business. But with sales dwindling and consumption sky rocketing, it seems that the concept of â??Sell Outâ? was possibly concocted by sales & marketing departments in the old music economy, because the very concept increased the value of their product. Unless an artist â??sold outâ? you couldnâ??t consume their music in any way other than to purchase it. You had to buy it. You simply had to. But not anymore. Now, music is consumed globally in multiple formats, whether the industry as a whole is happy about it or not. Why not get paid for that consumption? Does that make you a â??sell outâ? â?? or is it just irony that the only band to name their album â??sell outâ? has licensed music to competing automobile makers? I draw my own personal conclusion: the terminology â??sell outâ? worked in the old music economy but doesnâ??t make sense in the new music economy. Things change. Even Zeppelin has a song in a Cadillac ad. Artists deserve to work at their craft and get paid to do it. Rumblefish artists will never have their music associated with Porn, politics or illegal activities. But they will get checks and exposure to new fans. Rumblefish branding clients and music supervisory clients rely on us for quality music, and regularly come back to us for more. The “killer app” in the new music economy is enabling artists to be artists. even for their day job.

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We will be blogging from time-to-time while we are there so stay tuned for that. In the meantime, enjoy this picture of our booth (well, at least the artist’s rendering) and wish us luck!

And to those staying home, don’t worry – our trusty staff will still be in the office to help you out with any questions!

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Great albums are one thing, but individual songs deserve their time in the sun as well. We’re amped to share our favorite songs added to the Rumblefish catalog in 2007. Across all genresâ??rock, punk, house, hip-hop, jazz, and classicalâ??these are the 40 top songs that had us grooving all year:

Under Byen “Tindrer”

Tinkering and glistening tones from a Danish buzz band.

Sybris “The Best Day In History Ever”

Female-fronted indie rock band with a vocal style reminiscent of early Cat Power.

The Mighty VIC featuring La Bruja “Hangeo”

Hot Latin-inspired hip hop tracks featuring actress, poet, and rapper, La Bruja.

ATFC “Desire”

London-based tech house cooked to perfection.

Samsaya “Dodge It!”

Rapped and sung “Bollywood” lyrics over party hip hop.

Two Sheds “Perfect”

Tender with a hint of sadness and empathy.

Dave Pell “Mambo 69″

Lively horn section evokes images of old time Las Vegas lounges.

Real Life “God Tonight”

Synth pop from the 80s, remixed in the 2000s.

Street Drum Corps “Wrecks”

Percussive and loud with lots of shouting.

Unrest “I Do Believe You’re Blushing”

Legendary early 90s indie pop.

Down By Law “Easy Street”

Hardcore melodic punk by one of the genre’s forefathers.

The Timeout Drawer “I Fell So Far and I Fall So high”

Melodic guitars, vintage Moogs, and Mogwai/Godspeed influences.

50 Foot Wave “Bug”

Scratchy guitars, punk-ish melodies, and a splash of Throwing Muses‘ Kristin Hersh.

Gunsolo “Arcadia”

4:52 of smooth, mellow, electronic-organic vibe. Both unobtrusive and active at the same time.

Face To Face “Bill Of Goods”

Fist-pumping late 90s arena punk.

Deepgroove “Mardi Gras”

Minimal beats, trancey thuds, 70s disco/spy themes & filter sweeps; a great techno song.

Lydia “So Again”

Balanced mix between melodic pop and arena hard rock.

Tokyo Vogue “New Tomorrows”

80s band re-releases this unheard gem resembling Howard Jones at his best.

Ocasion “Sabor a Mi”

Traditional Latin tune with smooth rhythms and captivating vocals.

Co Pilgrim “Sweet Treason”

Heartbreaking falsetto paints minimally hushed waltzes and down-tempo melodies.

The Smashup “Never Gonna Kill Us”

Thrashing guitars, banging drums, and screaming vocals.

March Fourth Marching Band “Space Hole”

Equal parts carnival jazz, gypsy brass, big band, and funk.

Ultraviolet “Gimme My Electro”

As much at home in an 80s dance club as it is in the contemporary New York hipster bar scene.

Hyim “Evolution”

Reggae-infused feel-good pop bliss.

True Love Always “Mediterranean”

Elements of bossanova, jazz, and indie rock.

The Dimes “Catch Me Jumping”

The perfect medley of voice, instrumentation, and quirkiness creates catchy indie-pop.

DJ Egadz “Grim Advantage Pt 1″

Subtle blips and bloops provide a dark, trip hop backdrop.

Dylan In The Movies “My Only Sweet”

Lush and emotive indie ballads are nicely orchestrated and subtly affecting.

Alex Acuna “All For Nothing”

Latin Jazz that is heavy on percussion, subtle performances, and smooth female vocals.

Fans of Jimmy Century “The Record That U Play”

Fun electro clash pop evoking Goldfrapp remixed by Oakenfold.

The Feelies “When Company Comes”

Mostly instrumental/jangly folk song with heart and feeling.

Yonder Mountain String Band “Half Moon Rising”

Jangling bluegrass with soaring vocal harmonies.

Parker Theory “Leaving California”

Mid-tempo radio rock, ode to the left coast.

Slimey Things “Breaker breaker”

Strange, weird, and bizarre â?? â??nuff said.

Parlor Tricks “Under The Tree”

Holiday-inspired tune with soul and cool vocal effects.

Teddy Goldstein “Sure Wasn’t You”

Singer-songwriter, tongue-in-cheek folk pop.

Whiskey Priest “Get Well Card”

Alt folk ode to getting dumped.

Walt Mink “Goodnite”

90s power pop with intelligent songwriting and complex time signatures.

Cottonhead “This Is What I Want”

Ghostly, haunting, and beautiful country western & indie pop.

The Young Werewolves “Zombie Car Chase”

Like the Reverend Horton Heat mixed with The Cramps and a Halloween fetish on the side.

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2007 was a great year for our catalog. We added thousands of songs by new artists, and lot of new material from Rumblefish veterans as well. With that in mind, we’d like to turn your attention to our 15 favorite Rumblefish albums released in 2007:

Copperpot “WYLA?”

Smart, bright beats by an edgy, creative producer with guest spots by KRS-One and the guys from Tortoise.

Stars Of The Lid “And Their Refinement of the Decline”

Released to critical acclaim, these sleepy yet emotional pieces are ideal for score â?? particularly as ambient soundscapes and melodically charged white noise.

Track A Tiger “We Moved Like Ghosts”

Originally a solo project, the band’s sound has filled out gracefully to create beautifully textured, harmony-filled original indie pop gems.

Night Kills The Day “The Study Of Man”

Think Interpol meets the Promise Ring, with the right amount of style and pretension and topped off with lyrics about running terrified around NYC.

Strider “Tiger Stomp”

Classy, massive electro house with squelchy synths, pounding robot beats and fluid basslines, this 2007 breakout techno star is one to keep your eyes on.

Free Diamonds “By The Sword“

Perfect for scoring that scene where high school sweethearts either fall in love at a kegger or go and fight the jocks from a rival school. Yes, it is THAT good.

500 Miles To Memphis “Sunshine In A Shot Glass”

Fusing country guitar riffs and saloon style piano with punk rock attitude, they deliver twang-ridden lyrics about booze, heartache, and regret.

Seahorse “I’ll Be New”

Acoustic guitars, piano tinkering, and tin drums combine to create a rustic yet contemporary look at love and loss. Reminiscent of Paul Westerberg’s solo work.

Up The Empire “Light Rides The Super Major”

Pounding drumbeats that keep you dancing, and hypnotically-driving guitar hooks soaked in distortion. Similar to Superchunk, Sonic Youth, and Idlewild.

Glenn Mercer “Wheels In Motion”

After a self-imposed retirement, Feelies’ frontman Glenn Mercer is back with a solo album full of jangley pop rock gems.

Shane Newville “Formless”

Intricate and soulful combination of instrumental break beat, hip hop, and left-field electronica. This late night soundtrack album calls to mind the best works of DJ Shadow, Aphex Twin, and Four Tet.

MathClub “Mathclub”

Falls into line beside contemporary rock acts like Editors and the Killers with powerful hooks, self-reflecting lyrics, and danceable rhythms.

La Fleur Fatale “Night Generation”

Swedish psychedelic indie rock with sweeping guitars, cute organ leads, and memories of the coolest party none of us were invited to.

Jasmine Ash “Shine“

Breathy, intimate, eternally young vocals over shruggingly catchy pop music.

The Dimes “The Silent Generation“

Their combination of quirky sounds, unique instrumentation, and catchy lyrics lays the groundwork for great indie pop vignettes.

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AMC PROMO “HITCHCOCK WEEKEND”
Featuring “Like Murder” by Twilight Sleep

AMC churns out a lot of film promos every week that are in need of the right music to make their classic programming appeal to TV audiences with modern cinematic tastes. Eric Ruhalter, AMC producer, is the brain behind this spot, which is a great example of how the right music can actually help create the messaging and visual content for a project.

“With a spot like ‘Hitchcock Weekend’ you find the song first, then match the visuals to it,” explained Eric. He began by using Rumblefish’s trusty search engine to find a song which would fit the mood he had in mind for the promo. In this case, Twilight Sleep’s “Like Murder” fit the bill.

“I listened to a lot of different songs but that one just jumped out at me,” explains Eric, “it had a Hitchcock-ian tension with a nice building feel to it in a contemporary style.” He then worked with his editors to find visuals that matched the lyrics resulting in one of the coolest and creepiest clips we’ve seen in a while.

The band was appreciative of the prominent use of their song. “Of course, we enjoyed hearing our music in the Hitchcock spot, as his films are thematically aligned with our sound,” explained Twilight Sleep’s producer, Raj. The spot has helped raised the band’s profile by driving new fans to their site.

Stream the promo here.

MATCHSTICK PRODUCTIONS “7 SUNNY DAYS”
Featuring “Speak 13″ by Trystero

There’s nothing quite like stepping onto a piece of plastic and barreling down the side of a snow-covered mountain with that one perfect song blaring in your earphones. Our long-time client Matchstick Productions is one of the most creative and innovative action/snow sport film companies around. Matchstick’s 7 Sunny Days features a particularly cool use of a Rumblefish piece. Executive Producer Murray Wais chose Trystero’s “Speak 13″ as the background track in rich photographic scenes that needed the right song to help convey an awe-inspiring, dreamlike feel.

Murray explained that this song was perfect for a series of surreal, point-of-view shots. “It’s like you are in a dream, it’s very ethereal and abstract,” says Wais, “and the lyrics worked really well with what is happening on screen.” Murray went on to add that music selection is a vital part of their film production process and more often than not, the chosen song actually drives their edits.

Anything else to add, Murray?

“Check out our sick teaser for 7 Sunny Daysâ?? it features another great Rumblefish track, John Richardson’s â??Thunder Drums’”

MEN IN TREES â?? Episode 202
Featuring “Grip” by Brett Phillips

ABC’s Men In Trees is a great TV program that has made a name for itself by showcasing cool bands and rising talent. Music is such a vital element to the show that they even created a music guide as a resource for viewers to find out which songs were used in each episode.

Men In Trees has turned to Rumblefish a number of times asking for cool, unique music. We especially love the use of “Grip” by Brett Phillips in the second episode from last season. The song was used prominently during transitions between scenes, and worked perfectly with its blend of natural energy and the right amount of tension.

Susan Dolan, from Men In Trees, told us that the lyrics were an important reason they chose the song. “The words, â??waiting for a sign’, were relevant to one of our characters and what they were experiencing in that particular scene,” she emphasized.

All in all, we think Men In Trees uses killer songs to a terrific effect. Watch clips from the show here.

ADIDAS IN-STORE
Featuring hundreds of songs from the Rumblefish catalog.

Sonic branding client adidas was looking for more than just radio-tunes when they asked us to help them curate their in-store music program. They wanted to create a unique experience for their customers.

adidas “Originals” stores are stocked with eclectic vintage clothing that is meant to appeal to a very hip, fashion-conscious audience. The environmental music in their locations needed to bolster the customer experience by exhibiting both a purposeful and unique feel. Rumblefish also recognized adidas’ need for recognizable “major label” music that its customers could identify. So we hooked them up with an established background music provider and worked with its music programmers to curate a mix that complemented adidas’ brand persona.

Of course, adidas loves truly original music. So in addition to the major label tunes we incorporated Rumblefish catalog music in the program as well. Walk into any adidas Originals store and you’ll hear banging cuts from Rumblefish artists like: The Procussions, Free Diamonds, Two Sheds & Night Kills The Day alongside contemporary hit bands like Architecture in Helsinki, the Verve Remixed Series, Yeah Yeah Yeahs, Devendra Banhart and more.

Check out adidas Originals here.

RENEWABLE NRG â?? TV and WEB CAMPAIGN
Featuring “Can’t Stand Me” by Brightwings

We know a good environmental cause when we see it (we do live in the 3rd “greenest” city in America, after all) so when Renewable NRG approached us for music through their agency Leopold Ketel, we were excited. We found the perfect song to use both for background music on their website and in a series of TV commercials promoting their solar energy products.

Russ Wright, CEO of Renewable NRG, is a musician himself so he had some ideas for music and the Brightwings “Can’t Stand Me” provided exactly the right match. The band was delighted to be affiliated with such an environmentally friendly ad campaign and there is even talk of a continuing their association with a series of live shows in 2008.

Check out the song on their website and see/hear the synergy in real-time.

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Drawing musical inspiration from â??the seven deadly sinsâ? and â??antagonizing the religious right,â? Eddie likes to talk about what kinds of film and TV scenes he thinks Supersuckers music works well with. â??A car chase scene would be pretty good for us,â? says Eddie, â??or any sort of action scene.â?

Eddie and I also caught up on Supersuckers news. It turns out that they just finished recording a new album last month! We’re all pretty excited about getting our hands on it.

Before leaving I had to know what’s was new on his iPod. Eddie seems to be really digging The Boss lately. We left off reminicing about their experience working with Willie Nelson on their 1997 Album Must’ve Been High and country super-star Steve Earle on a 5-song EP released later that same year. It should go without saying that the guys were pretty amped about it.

Check out Rumblefishâ??s Supersuckers catalog, and look for their new album to hit the streets sometime next spring.

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If you have any special requests for anything you’d like to hear in our Podcast, please email us at: a&r@rumblefish.com

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Tovar Group: DVD, under 500 copies
Fire Trial by Perplexa

Charles Sabosik: Short run videogram
Once by Perplexa

Brains On Fire: Jason’s Deli Website
Wonderful Way by Ming + FS
Pulling Out A Win (Instrumental) by superGARAGE
The Sun (Instrumental) by The Covering
Catch Me Jumping (Instrumental) by The Dimes

Empty Pocket Entertainment: Short run videogram
Steez by MaxOne
Flat On Her Back by Parks and Recreation
Spin Like a DJ by Ultraviolet

Bearing Fruit Communications: Videoblog
City Below by Marisa

Outpost Audio, Inc
The Giri-Giri by Hank Hirsh

BBDO Toronto/Ricochet Post
Wait Too Long by De La Vega

Alyssa Banko: Videoblog
Quackalactic Breakdown by Ivan Rosenberg
The Escape Artist by Ponticell
4.70 by St. Petersburg Ska Jazz Review
Trip Back To Childhood by St. Petersburg Ska Jazz Review

Piehouse Films: Film and Movie, 500-5,000 copies
When Kenpo Strikes by Red Cloud
Hollow Sky by Mount Sims
You Canâ??t Go Home by Luke Janela
Home by Luigi
Remember by Dave Odegaard
Orchestral Action by His Boy Elroy
Your Name by Morgan Grace
Electricity by Ollie Byrd
Gunshy by Perilelle
Ride On (Inst) by Sackcloth Fashion

Nicole Perry: Videoblog
Memphis Blues by Prairie Ramblers
When Andy Met Anjie by Josh Ellyson

Matchstick Productions: TV Show
Take It Slow by Phatheads
50Ft Mole Man by Ming + FS
Blank Minds by Acts 29
Missionary Dater by Acts 29
Ignite by Bryan Ingram
Outlaw by DC Slater
Progress by DJ Logic
Poundinâ?? the Pavement (Inst) by DJ Morphiziz
Game Over (Inst) by Fros T
Vinny-II by MG!
I Am The Ocean by Ponticello
Wandering Blues (Inst) by Poticello
Tight With Lasso by Sackcloth Fashion
Computer by Slowride
A Better Life by the Brought Low
Blues for Cubby by the Brought Low
Horses by Wes Houle

Museum of Contemporary Craft
La Paloma by Mood Area 52
Pope of Poortown by 3 Leg Torso

Digital Trends: Internet video
Big Little Leffrey (Inst) by Ming + FS
Chester Goes To Town by Ming + FS
Fizzle by Chris Nicholson
Hallucinations by Dave Odegaard
Inside (non-vocal) by DfiVE9
The Pulse by DJ Logic
Southern Heat by DJ Logic
Dubledown by Fuz
Bad Duk by Fuz
Sunsation by Fuz
My World by Fuz
ZNM4 by Fuz
The Rising by Haitz
Edge by Neil Rambaldi
Evolution by Neil Rambaldi
Heavy Titanium by Underbiz

ABC Family: GREEK
Feels Good (Radio Edit) by Ming + FS

Hobgood Robertson Photography: Pam Robertson Photography Web Theme
Breathe by Madison Park

ABC: Men In Trees
Pacific Western Jet Stream Home by Bret Phillips
Grip by Bret Phillips
On With The Show by Casey Maxwell

Xgenstudios: Pillage The Village
Edge by Neil Rambaldi

MTV: Parental Control 2
Devil Doll by Socialight
Shorty by Socialight
Less Than Zero by Socialight
Wanabe by Socialight
Fatt Head by Socialight
Untrue by Socialight
Salvation by Socialight
Ryder by Socialight
Broken by Socialight

NRG Renewable Energy Website and TV
Canâ??t Stand Me by The Brightwings

Sockeye Creative: Song for PSU
Truth and Reconciliation (Inst) by This Providence

American Movie Classics â?? AMC Promos
You Make Me Feel by Consolidated (Dial H For Hitchcock)
Swat by Underbiz (Field of Dreams)
Trouble Crunk by Raging Family (Hunt for Red October)
Swat by Underbiz (Field of Dreams)
Lordâ??s Prayer by MG! (One Flew Over the Cuckoo’s Nest)
New Action by Woke Up Falling (Hoosiers)
12-01 AM by Bryan Ingram (Meet Joe Black)
My Will by Luigi (National Lampoon’s Vacation, Shoot Out)
Extreme by Dave Odegaard (Young Frankenstein)
At The Laundr-O-Mat by Samantha Murphy (The Pick-Up Artist)
Anomaly by Dave Odegaard (Army of Darkness, T3: Rise of the Machines)
Impostors by Canasta (City of Angels)
Laksnadu by Dirtybomb (Fast Times at Ridgemont High)
Barely Alive by Demogorgon (Gothika, Puppet Master)
Imaginary Time by Dirtybomb (Raising Helen)
Gingerman by Mark Geary (City of Angels)
Blues for Cubby by The Brought Low (Wyatt Earp)
Ramblinâ?? Cat by Dave Odegaard (menu)
Smokinâ?? Chocolate by Rob Simonsen (menu)
Second Attention by Dave Odegaard (menu)
Quinine by Perplexa (menu)
The Ascension by Bryan Ingram (menu)
Chlo-E by Tommy Dorsey (Hollywood Icon: Marilyn Monroe)
Ground Zero by DfiVE9 (Marked For Death, Red Dawn)
Smile In The Dark by Sackcloth Fashion (Shootout Generic)
Like Murder by Twilight Sleep (Hitchcock Weekend)
Two Rooms by The Feelies (Hollywood Icon: Al Pacin0)
Tyro by Pave The Rocket (Untouchables)
One Way From Nowhere by Haitz (Last of the Mohicans)
Steal The End by Throttlerod (Dante’s Peak)
Wake Up by Assisted Living (Insomnia)
Away by Baseboard Heaters (The Firm)
Breath by De La Vega (Broken Trail)
Try To Believe by Telescope (Sister Act)
Dinosaur by Carla Holden (Rear Window)
Never Be The Same by The Unknown (Jurassic Park)
Once It Starts by superGARAGE (AP: Lionheart, Marked For Death)
Pop Pop Radio by superGARAGE (AP: Young Guns 1, 2)

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We were pleased to attend and speak at â??The Meeting 2007â?, an event by ASPEN/SNOWMASS which provides forums for ski and snow film makers, producers, sponsors and athletes to meet and discuss issues affecting them everyday. On Friday, October 5th, I gave a presentation on Music Licensing Basics and hosted a Q&A immediately afterward. Many of the attendees had some great questions concerning music licensing, particularly in light of the nationally reported RIAA lawsuit win that same day.

After the presentation, Rumblefishâ??s Dan Holmes and I attended other panels, meetings and social activities. Some key highlights include our interview (link coming) with filmmaker Eric Iberg (â??Ideaâ?), Teton Gravity Researchâ??s â??Lost and Foundâ? premiere, getting interviewed by Plum TVâ??s Torre and the harrowing experience of driving go-karts on an empty stomach (thanks RedBull!) All in all, it was a great experience and Rumblefish is pleased to be involved in this young, growing industry. See you next year!

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This is genius on a couple of levels. First, they’ve created tremendous buzz by having the guts to circumvent the labels by selling directly from their website. Second, they are opening themselves up to new audiences – risk free. Finally, they’re betting on their rabid base of existing fans to gobble up the boxed set. Radiohead is the first notable band to recognize that in the digital age, they can take control over when and how their music is distributed; and that ultimately, the consumer is in charge. By putting the cost of the download purely in the hands of the consumer, they are recognizing – confidently – that those who might otherwise have simply stolen the tracks are now given the option to pay as little as they’d like. They also have the confidence to recognize that their real fans will spend more than “retail value” for the download in addition to buying the boxed set. They’ve cut out the middle man, and they have nothing to lose. In fact, they actually stand to make more money on the deal than if they were distributing through a label. We applaud Radiohead for continuing to challenge the system that built them while still rewarding the fans who continue to drive their success.

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Nate, 9th Circuit Judge Alex Kozinsky, and I agree that “overprotecting IP is as harmful as underprotecting it. Culture is impossible without a rich public domain.”

I especially believe this as the CEO of a music licensing company. The ecosystem that exists between business and art was established the very first time when there were enough people in a tribe to feed an artist, so the artist could create and not hunt or farm. That critical balance, creates a thriving and diverse culture on any scale through it’s economic and artistic exchange.

If artists and inventors can not freely create because copyright-based businesses are unwilling to support reasonable copyright ownership terms and useful mechanisms such as Creative Commons, this ecosystem will suffer as will the global cultural community.

Clearly stated: Copyright owners and representatives should not over or under protect copyrights and always be mindful of their cultural impact.

Hope you enjoy the video.

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