TV in Tune with Top Music

http://www.variety.com/article/VR1117978396?refCatId=16&query=tv+in+tune+with+top+music

Posted: Thu., Jan. 3, 2008, 3:08pm

By PHIL GALLO

The top-selling albums of 2007 reveal the importance of TV’s role in generating sales and show that major labels take a back seat when it comes to creating modern superstars.Four of the top six sellers had direct connections to TV projects. “Noel,” by Josh Groban, whose career has been driven heavily by PBS specials, received a significant boost from an Oprah Winfrey stamp of approval and an appearance on her TV show. “High School Musical 2” and “Hannah Montana 2/Meet Miley Cyrus” are TV show soundtracks. And “Daughtry” is the debut album from a popular “American Idol” contestant.
Four top 10 albums appear on indie labels, including Taylor Swift’s debut and the Eagles’ first album in 28 years, “Long Road to Eden,” which was sold only at Wal-Mart outlets.
Of the remaining slots, Sony BMG was represented by Alicia Keys’ fourth album, which was promoted heavily in ubiquitous Target ads — showing her performing her single “No One” — that aired throughout the holidays. Warners had Linkin Park’s third studio disc, and Universal had Kanye West’s third release and the debut from Fergie, who has sold millions of albums as a member of the Black Eyed Peas.
Performers releasing albums in the last two months of the year, when more than 20% of all sales are registered, were limited in the number of TV appearances they could make because of the writers strike. The strike also limited the number of new scripted episodes connected with the promotion of the artists’ new releases.

Nashville Star to Shine on NBC

http://www.variety.com/article/VR1117979226?refCatId=1236&query=nashville+star+to+shine+on+NBC

Posted: Thu., Jan. 17, 2008, 11:31am PT
‘Nashville Star’ to shine on NBC
Network schedules show for summer debut
By JOSEF ADALIAN
‘Nashville Star’ will shift from USA net to NBC starting this summer with a new judge, host and contestants.
NBC Universal isn’t giving up on “Nashville Star,” choosing to move the USA Network music competition to the Peacock.
USA execs made it clear earlier this year that they had no interest in bringing “Star” back for a sixth season. But one of the show’s exec producers — Ben Silverman — is now running NBC Entertainment, paving the way for a Peacock pickup.
Casting on the latest “Star” will begin next month, with NBC planning to debut the show this summer. Network is expected to name a new host and judges for the show later this year.
Other changes in store for the show at NBC: Duos and groups will be eligible to compete, while contestants can be as young as 16 (with no upper limit on age).
Peacock also announced Thursday that the recently greenlit second cycle of “American Gladiators” will be held until summer. Net said it will tubthump its warm weather sked as “NBC’s All-American Summer,” linking programming to its coverage of the Summer Olympics.
“Star” was created by Reveille and is produced by 495 Prods. and Picture Vision. Silverman remains an exec producer, along with Howard Owens, Mark Koops and Sallyann Salsano.

My Music, Myspace, My Life

By JON CARAMANICA
CHATTANOOGA, Tenn.
BY now Taylor Swift knows how to work all the different digital cameras, all the different camera phones. When surrounded by a group of fans clamoring for pictures, as she was here on a Saturday night in mid-October after a sold-out show at the McKenzie Arena, she warmly appropriated the camera of each one, struck a cute pose, snapped the picture and then handed it back, usually followed by a hug. All in all it was a fair trade: intimacy for control.
“Intimidation isn’t what I’m going for,” Ms. Swift, 18, said earlier in the day in the Zen-like tour bus she and her mother, Andrea, designed, from the leather on the sofas to the faux peacock feathers on the bathroom wall. “I don’t have big security guards,” she said as Fox News played mutely on the television. “I don’t have an entourage. I try to write lyrics about what’s happening to me and leave out the part that I live in hotel rooms and tour buses. It’s the relatability factor. If you’re trying too hard to be the girl next door, you’re not going to be.”
Thus far Ms. Swift, who spends much of her free time updating her MySpace page and editing personal videos to upload to the Internet, has not had a tough time finding the right balance. She has quickly established herself as the most remarkable country music breakthrough artist of the decade. In part that’s because she is one of Nashville’s most exciting songwriters, with a chirpy, exuberant voice. But mainly Ms. Swift’s career has been noteworthy for what happens once the songs are finished. She has aggressively used online social networks to stay connected with her young audience in a way that, while typical for rock and hip-hop artists, is proving to be revolutionary in country music. As she vigilantly narrates her own story and erases barriers between her and her fans, she is helping country reach a new audience

Tennessee Makes Bid for More Films

http://www.variety.com/article/VR1117995669?refCatId=3332

State hopes incentives sustain production gains
By PETER GILSTRAP
In the increasingly competitive market of film-hungry states maneuvering to host Hollywood productions, the fertile region of Tennessee is making a pronounced bid for the showbiz green.
The Volunteer State has long been the filming locale for John Grisham epics, and Memphis native Craig Brewer’s “Hustle & Flow” and “Black Snake Moan” were local productions, as was Johnny Cash biopic “Walk the Line.”
But, thanks to dual incentive programs courtesy of the Tennessee Film Commission and the Dept. of Revenue that were enacted a year and a half ago, 2008 has seen efforts such as Disney’s upcoming “Hannah Montana: The Movie,” director Rod Lurie’s “Nothing but the Truth” and indie Billy Graham biopic “Billy: The Early Years” hunkered down in Tennessee.
The incentive package was fostered by competition, says film commission project manager Bob Raines. “Tennessee was falling behind other states that were rolling out incentive programs, some of which are not as conservative as ours, but we’re trying to build something that is long term and sustainable.”
The dual program offers up to 17% refund from the Film Commission with an additional 15% distributed by the Dept. of Revenue. Productions coming to Tennessee get an immediate 13% rebate with 2% added for Tennessee music acquisition, and another 2% can be had if at least 25% of the production’s crew is hired locally.
“It’s important to know that these are cash rebates,” Raines stresses. “Louisiana offers tax credits, where you lose money up front. With us, productions get a check straight from the government.”

Taylor Swift Music Big in Europe

http://www.topcountrysongs.net/news/taylor-swift-music-big-in-europe/

Not that it should come as any surprise, but Taylor Swift is just as popular in Europe as she is the United States. What may be kind of a shock, is the fact that the “Fearless” album has not even been released overseas yet. The public response has been overwhelming for the 19 year old in England, and when the CD is officially released March 2nd, you can expect the Taylor Swift hysteria to continue, but this time with a european flavor.

The U.S. will get a chance to see the singer in Plant City at the Florida Strawberry Festival March 1st, if you can get tickets. Then it is off to Australia for Miss Swift, as she has some shows scheduled for March 5-12, hopefully she can stop off in Hawaii on her way back, and take a deserved break before she starts her long tour of North America in the summer of 2009, you can check out the full schedule at the Official Tayor Swift Website.
She recently released the official video version of “White Horse“, and it jumped right into first place for country videos, this should not come as a surprise as the song is in the current Top 20 Country Songs and will probably make it into the top spot with the help of the new video.

Music an Integral Part of Anatomy

http://www.variety.com/article/VR1118003243?refCatId=3616

Emphasis on progressive tunes began early
By JUSTIN KROLL
ABC’s “Grey’s Anatomy” is a show about a lot of things — doctors, relationships, life and death — but before the show even began its pilot, producers realized there had to be one more thing included in that list: music.
“We knew going into the pilot that we had to make the lives of the interns as accessible as possible, and the music allows that,” says exec producer Betsy Beers.
To make that music a force of its own, “Grey’s” and showrunner Shonda Rhimes hired Alexandra Patsavas as music supervisor, with the hope she could bring the same magic she supplied to her previous work, such as “The OC” and “Rescue Me.”
“Shonda always intended it to be a musical show,” Patsavas says. “From the start, the producers were never afraid of listening to the unusual.”
Beers also notes that “Grey’s” has never focused on just one genre of music, instead broadening its reach with pieces from the Fray to Kanye West, and credits some of the show’s growth and development over the years to that.
“Part of the way we view the show is as an evolving organism, and that is the way the music works as well,” Beers says. “As the interns evolve and get older, the music evolves as well.”
The one thing Patsavas and many of the execs agree upon is never to predict how big a song or act will get after being heard on the show.
Everything from the Fray’s “How to Save a Life” to Snow Patrol’s “Chasing Cars” climbed the charts, with the acts gaining more popularity once their songs were heard on the show.
“You always hope, but we never could have predicted what the music is doing now,” Beers says.
Show execs aren’t the only ones in the ABC family to notice the importance and popularity of music in their shows. May brings the launch of ABC’s online Music Lounge, featuring on-demand musicvideos and a single-stream online radio station playing songs from all shows and promos you hear on the network.
Dawn Soler, veep of ABC’s TV music division and co-creator of the lounge, says the idea appeared two years ago and credits “Grey’s” for expanding that interest in the area.
“‘Grey’s’ is definitely a tastemaker show,” Soler says.

Yeah, I’m Autistic. You Got a Problem with That?

http://www.wired.com/images/press/pdf/autism.pdf

On the outskirts of Montreal sits a brick monolith, the Hôpital Rivièredes-Prairies. Once one of Canada’s most notorious asylums, it now has a small number of resident psychiatric patients, but most of the space has been converted into clinics and research facilities.

One of the leading researchers here is Laurent Mottron, 55, a psychiatrist specializing in autism. Mottron, who grew up in postwar France, had a tough childhood. His family had a history of schizophrenia and Tourette syndrome, and he probably has what today would be diagnosed as attention deficit and hyperactivity disorder. Naturally, he went into psychiatry. By the early ’80s, Mottron was doing clinical work at a school in Tours that catered to children with sensory impairment, including autism. “The view then,” Mottron says, “was that these children could be reeled back to normalcy with play therapy and work on the parents’ relationships”—a gentle way of saying that the parents, especially the mother, were to blame. (The theory that emotionally distant “refrigerator mothers” caused autism had by then been rejected in the US , but in France and many other countries, the view lingered.)

After only a few weeks on the job, Mottron decided the theories were crap. “These children were just of another kind,” he says. “You couldn’t turn someone autistic or make someone not autistic. It was hardwired.” In 1986, Mottron began working with an autistic man who would later become known in the scientific literature as “E.C.” A draftsman who specialized in mechanical drawings, E.C. had incredible savant skills in 3-D drawing. He could rotate objects in his mind and make technical drawings without the need for a single revision. After two years of working with E.C., Mottron made his second breakthrough—not about autistics this time but about the rest of us: People with standard-issue brains—so-called neurotypicals— don’t have the perceptual abilities to do what E.C. could do. “It’s just inconsistent with how our brains work,” Mottron says. From that day forward, he decided to challenge the disease model underlying most autism research. “I wanted to go as far as I could to show that their perception—their brains—are totally different.”

Bob & Suzanne Wright: How One Family’s Crisis Helped Put Autism on the Planet’s Health Agenda

http://www.time.com/time/specials/2007/article/0,28804,1733748_1733756_1735237,00.html
By Tom Brokaw

When Bob and Suzanne Wright learned that one of their grandchildren had received a diagnosis of autism, it would have been easy for them to use their wealth and contacts from Bob’s former post as CEO of NBC to arrange for the best private care and worry only about their own family.

Instead, typically, they worried about all the families with children who have autism. They decided to devote themselves to raising awareness about autism and greatly expanding the research into its causes and treatment. Together Bob, 65, and Suzanne, 61, launched Autism Speaks, which quickly became a global crusade against this mysterious and debilitating condition.

They successfully pressed Congress to allocate more research money. They convened the best experts in the field. They raised millions of dollars from their friends at events across the U.S. And they successfully lobbied the United Nations to place autism on the global health agenda.

For those of us who have known Bob and Suzanne for a long time, none of this came as a surprise. The products of modest beginnings, they have never taken their good fortune for granted. In their devotion to family and their faith, they always ask, “How can we help?” When it comes to autism, they won’t quit until we have some answers.

Parallel Play: A Lifetime of Restless Isolation Explained

http://www.newyorker.com/reporting/2007/08/20/070820fa_fact_page

by Tim Page
AUGUST 20, 2007
The author’s first and most powerful obsession was music.
My second-grade teacher never liked me much, and one assignment I turned in annoyed her so extravagantly that the red pencil with which she scrawled “See me!” broke through the lined paper. Our class had been asked to write about a recent field trip, and, as was so often the case in those days, I had noticed the wrong things:
Well, we went to Boston, Massachusetts through the town of Warrenville, Connecticut on Route 44A. It was very pretty and there was a church that reminded me of pictures of Russia from our book that is published by Time-Life. We arrived in Boston at 9:17. At 11 we went on a big tour of Boston on Gray Line 43, made by the Superior Bus Company like School Bus Six, which goes down Hunting Lodge Road where Maria lives and then on to Separatist Road and then to South Eagleville before it comes to our school. We saw lots of good things like the Boston Massacre site. The tour ended at 1:05. Before I knew it we were going home. We went through Warrenville again but it was too dark to see much. A few days later it was Easter. We got a cuckoo clock.
It is an unconventional but hardly unobservant report. In truth, I didn’t care one bit about Boston on that spring day in 1963. Instead, I wanted to learn about Warrenville, a village a few miles northeast of the town of Mansfield, Connecticut, where we were then living. I had memorized the map of Mansfield, and knew all the school-bus routes by heart—a litany I would sing out to anybody I could corner. But Warrenville was in the town of Ashford, for which I had no guide, and I remember the blissful sense of resolution I felt when I certified that Route 44A crossed Route 89 in the town center, for I had long hypothesized that they might meet there. Of such joys and pains was my childhood composed.
I received a grade of “Unsatisfactory” in Social Development from the Mansfield Public Schools that year. I did not work to the best of my ability, did not show neatness and care in assignments, did not coöperate with the group, and did not exercise self-control. About the only positive assessment was that I worked well independently. Of course: then as now, it was all that I could do.
In the years since the phrase became a cliché, I have received any number of compliments for my supposed ability to “think outside the box.” Actually, it has been a struggle for me to perceive just what these “boxes” were—why they were there, why other people regarded them as important, where their borderlines might be, how to live safely within and without them. My efforts have been only partly successful: after fifty-two years, I am left with the melancholy sensation that my life has been spent in a perpetual state of parallel play, alongside, but distinctly apart from, the rest of humanity.
From early childhood, my memory was so acute and my wit so bleak that I was described as a genius—by my parents, by our neighbors, and even, on occasion, by the same teachers who gave me failing marks. I wrapped myself in this mantle, of course, as a poetic justification for behavior that might otherwise have been judged unhinged, and I did my best to believe in it. But the explanation made no sense. A genius at what? Were other “geniuses” so oblivious that they couldn’t easily tell right from left and idly wet their pants into adolescence? What accounted for my rages and frustrations, for the imperious contempt I showed to people who were in a position to do me harm? Although I delighted in younger children, whom I could instruct and gently dominate, and I was thrilled when I ran across an adult willing to discuss my pet subjects, I could establish no connection with most of my classmates. My pervasive childhood memory is an excruciating awareness of my own strangeness.

Growing Old with Autism

http://www.time.com/time/printout/0,8816,1898322,00.html

By Karl Taro Greenfeld
Noah, my younger brother, does not talk. Nor can he dress himself, prepare a meal for himself or wipe himself. He is a 42-year-old man, balding, gaunt, angry and, literally, crazy. And having spent 15 years at the Fairview Developmental Center in Costa Mesa, Calif., a state facility, Noah has picked up the con’s trick of lashing out before anyone could take a shot at him.
Noah’s autism has been marked by “three identified high priority maladaptive behaviors that interfere with his adaptive programming. These include banging his head against solid surfaces, pinching himself and grabbing others,” according to his 2004 California Department of Developmental Services individual program plan (IPP). Remarkably, that clinical language actually portrays Noah more favorably than the impression one would get from a face-to-face meeting. (See six tips for traveling with an autistic child.)
Despite the successful marketing of the affliction by activists and interest groups, autism is not a childhood condition. It is nondegenerative and nonterminal: the boys and girls grow up. For all the interventions and therapies and the restrictive diets and innovative treatments, the majority of very low-functioning autistics like Noah will require intensive support throughout their lives. If recent estimates of prevalence by the Centers for Disease Control and Prevention are accurate, then 1 in 150 of today’s children is autistic. That means we are in for a vast number of adult autistics — most better adjusted than Noah, some as bad off — who will be a burden to parents, siblings and, eventually, society.
We are largely unprepared to deal with this crisis. Autism funding and research, so far, have predominantly focused on children. When I have visited autism conferences, there have been exceedingly few research projects devoted to low-functioning adult autistics. It remains difficult for families of adult autistics to find the programs they need, to access those services that are available and even to locate medical professionals and dentists who can handle adult autistics. Too much of the burden rests on the families themselves, who remain in the picture as caregivers, advocates and, too often, the only party with the autistic adult’s best interests in mind.
Parents, of course, love their children. When I used to accompany my parents to visit Noah at Fairview, we would sometimes see other parents visiting their middle-aged “boys” — some of them strapped into helmets because of their self-injurious behavior — who walked with the same stiff-legged gait, bobbed their heads from side to side, twiddled rubber bands or twigs in their hands and sometimes smacked their foreheads with their fists. They were unlovely men, I thought, lost, impossible to like. But once the parents were gone, who was supposed to keep making these visits and these phone calls checking up on their sons and attending these meetings with the administrators and bureaucrats and caregivers to advocate on behalf of the lost men? That will end up being me, or people like me, the siblings. We will be the ones left caring.