Movie Capital

Apple Suicide: Obsessive Control

Written by Ian Paul

How does a tech company spell suicide in 2009? D-R-M. Word is going around that the masters of the universe at Apple have embedded a DRM-type chip into the headphones of the new iPod Shuffle. That means that without that chip -- either in an adapter or a new pair of headphones -- you can barely control your new device and the new VoiceOver feature is rendered obsolete.

The assertion came from iLounge during its recent review of the new iPod Shuffle. The blog, famous for its detailed product reviews, doesn't say how it knows Apple included an authentication chip in the new headphones, only that it has.   A further investigation by BoingBoing discovered a mystery chip named 8A83E3 buried in the Apple earbuds' architecture that may be the authentication chip.

The reaction to this rumor has been mild surprise. Some have argued this policy has been good for Apple financially and may lead to higher quality headphones from third-party vendors. However, I have to say, if the rumor is true then this is a horrible path for Apple to tread. By forcing consumers to constantly buy something as commonplace as headphones every time a new feature is added will only serve to upset the public and distance Apple from its dedicated base of consumers.

More troubling is a report from the Electronic Frontier Foundation that suggests Apple may be embracing the authentication model after it pushed other industries to abandon copy protection. The EFF points out that several of Apple's core products have some sort of DRM or authentication chip embedded in them, including iPods, the iPhone, OSX, and video ports on the new MacBooks. In its report, the EFF accuses Apple of trying to "shove competitors to the fringes and wrest control out of the hands of users."

In other words, by forcing manufacturers to license Apple's authentication technology to create third-party products, Apple inflates prices and reduces choice, while increasing its own profits. Now, I don't want to suggest that Apple doesn't have the right to make money; of course it does. But its methods should not put undue pressure on consumers to purchase only from a "walled garden" of products -- no matter how beautiful that garden may be.

In 2007, Steve Jobs wrote a letter entitled "Thoughts on Music," which turned the music industry on its ear. In that letter Jobs saw a rose-colored world free from copy protection where "any player can play music purchased from any store, and any store can sell music which is playable on all players." Jobs then went on to state that, "this is clearly the best alternative for consumers, and Apple would embrace it in a heartbeat." Apple has promoted DRM-free music. So if DRM-free music is the best alternative for consumers, why isn't DRM-free hardware? Why should you be forced to switch one method of DRM protection for another?

I want to reiterate that this mystery chip in the Apple earbuds may not be an authentication chip. However, considering the DRM protections in some of Apple's other products, the rumor is not outside of the realm of possibility. If it is true, then it's a very bad idea and I hope Apple reconsiders.

Now some thoughts by me: My take is that you need to use a third party headphones with your iPod or iPod touch. Why? It has been proven that the Apple iPod earphones can cause permanent hearing loss. Why? You need to wear headphones that are "open" and allow air. If you have comments or questions, feel free to write me now at: msantell@mac.com

ASCAP, I Create Music!

Written by Mitch Santell

 

In 2006 I attened the first ASCAP I create music event in Los Angeles. It was the single best deal in the music industry. I've been a member of ASCAP since 1977 when I launched L.A. Music Publishing.

Over the years I've admired how much ASCAP cares about the people that join their organization and the seem sincere in their desire to educate new as well as established composer and publishers. When I attened my first event they had RANDY NEWMAN himself teaching a class on film scores and what he does and what to look for every cool.

Next, I had a great connection and presentation by Seth McFarland, the creator of Family Guy. Why was he there? Seth is also a composer on his own show. Family guy uses an orchestra of 55 musicians each week to produce this award winning show.

From the ASCAP Web Site check this out......

"About the ASCAP "I Create Music" EXPO

Build your network. Develop your craft. Boost your career.

Succeeding in today's music business depends on connections - with the right people, information, advice, tools, services and technology that are available to music creators. But discovering what is truly important can be challenging. ASCAP's annual three-day "I Create Music" EXPO makes it easy and worthwhile. It is the one place where serious songwriters, composers and producers like you can connect face to face at panels, workshops, performances, exhibitor demos, One-on-One sessions and networking events with the real people who can make a difference in your career - from the world's most successful music creators to industry experts and technology innovators. If you are committed to developing your craft and advancing your career, join the growing community of participants at the ASCAP "I Create Music" EXPO, get your music heard and connect with your future success.

Launched in 2006, the ASCAP "I Create Music" EXPO is the first and only national conference dedicated to songwriting and composing. Selling out in its inaugural year, the EXPO immediately provided a unique opportunity for songwriters, composers, publishers, producers - and those in the industry that support them - to come together in an unprecedented way to share their knowledge and expertise. In its short history, the innovative programming offered to attendees has grown to include celebrity Q&A's, master classes, songwriting and composing workshops, publisher and business panels, One-on-One sessions, DIY career building workshops, showcases and performances, song feedback panels, state-of-the-art technology demos as well as leading music industry exhibitors.

Some of the biggest names in music, both on the creative and business side, have participated at ASCAP's EXPOs. The EXPO's headliner interviews have been with Jon Bon Jovi & Richie Sambora, Jackson Browne, Steve Miller, Randy Newman and Tom Petty".

Come Together!

Written by Mitch Santell

Thank God the old music business is dead. Why is that? For many years teenagers complained about the fact that CD's cost way too much money. What kid is going to plop down 17.00 Dollars (USD) for a plastic disk. This is especially so when you can get it all on line. There are some amazing artists out there who are taking back their control of their music. In the old days of the "biz," the label was basically the "bank" for the artist. The bottom line is the labels would always manipulate the numbers so that the loan would never be paid back. My view is that artists need to come together, build their own fan base and that base of fans become your customers. The Fascist RIAA has stopped their individual lawsuits. Hooray! Their new plan is simply to now sue and harass major ISP companies. My prediction? Within 10 years organizations like the RIAA won't be around any more. Come together mates!

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The lean, mean, music machine!

Written and edited by Mitch Santell

Each and every day I am amazed at the challenges and changes in the music business. Here is an interesting article I uncovered recently. Click on my name above to email me your thoughts. Tomorrow, I'll look at the other side of the music business. What is that? Real music groups that kick ass and work as a unit.

Live music? That’s so Old-fashioned, Dude!

House DJs are replacing live music and becoming the mainstream, writes Benjamin Moshatama

Shove the talented songstress off the stage. Take the microphones away from the MCs and kwaito lyricists. Even the jazz ensemble is no longer in demand.

Step aside — and make way for the new master of music.

He arrives with two turntables, a mixer, a stack of music vinyls and his outsized earphones to dish up a platter of musical delights for you.

He’s the street-smart club DJ, who is taking over South Africa’s music industry. And he’s no slouch.

The greasy-haired DJ of the ’80s has given way to a cluster of edgy, young, educated, business-minded and fast-talking youngsters who have turned the local music industry on its head.

These young DJs have taken electronic dance music, known as house, from the underground club culture to the middle of the mainstream music industry.

Although the club scene is not new — as it was pioneered by the likes of Oskido, DJ Fresh and Glen Lewis, among others, in the mid ’90s — these young clubbers have come up with a successful, leaner and meaner formula to make the genre more popular.

They have created their own up-tempo electro dance beats, giving them a kasi (township) flavour by incorporating local lyrics that their club-hopping audience can relate to.

Themba Mbongeni Nkosi was only 13 years old when he started collecting cassettes as a hobby, and took advantage of any chance to play music for his friends and family on his parent’s humble cassette player. Little did he know that his hobby would lead him to becoming one of the most popular DJs in Johannesburg.

Ten years later, Nkosi dropped out of university, in his second year of studying marketing, to pursue a career as DJ Euphonik.

Any teenager or young working professional can easily relate to the 25-year-old Euphonik.

He dresses in simple gear — a skateboarding T-shirt, designer jeans and sports sneakers. When he speaks, his sentences are punctuated by the word “dude” and he constantly fiddles with his BlackBerry phone.

The BlackBerry keeps him in touch with his office and updates him on his busy daily schedule.

Without it, Euphonik wouldn’t cope. After releasing six compilation albums, three of his albums reached gold status, each selling more than 20000 units. He has become one of the forerunners on the local club music scene.

These spin meisters are competing on an equal footing with other genres and their music is readily available at most local music outlets.

“We are the modern superstars,” says Euphonik, with a confident swagger.

“We are like what kwaito stars were back in the day. Every second kid I come across wants to be a Euphonik. They are no longer interested in being Mandoza. These young kids love the cars we drive, envy the places we eat in and want to stay in the places we live. Dude, to be a DJ is now a cool thing,” he says.

Euphonik started out as a DJ in high school. After dropping out of university, his career began taking off.

“I left varsity because I wasn’t enjoying what I was studying. I was playing at gigs almost every night and I couldn’t completely focus on my studies. I made the brave decision to quit and pursue a career being a DJ.”

While he was doing club gigs, he hooked up with the DJs Kent and Tumi and they started remixing songs for the likes of poet Ntsiki Mazwai, and producing their own beats, which became popular in clubs. Among their most popular remixes are Cyndi Lauper’s Time After Time and Masingita.

DJ Clock (Kholile Gumede), is another newcomer to the music industry but with his album, First Tick, he reached gold status in just under four months.

Highly successful DJs insist on being well paid when playing in clubs and at corporate gigs. Most of them charge between R6000 and R9000 an hour or even more, depending on the gig.

They often play at more than one club a night, which increases their earnings.

And, unlike in the past, when clubbing only happened over weekends, these dudes are in demand throughout the week.

“We treat this career like a business. I have set up my own office. I have people to help market me as a product, and a personal assistant who is responsible for my bookings,” says Euphonik.

The DJs are in demand because events promoters and club owners have noticed that it’s cheaper and logistically easier to hire them.

“They have also noticed that, unlike musicians, we actually play different kinds of music. For example, if you ask Afro-pop band Malaika to play at an event, they are limited to their repertoire and they are limited to performing for a few hours. We play a variety of tunes and we don’t mind playing for more than two hours,” said Euphonik.

These groovemasters don’t have their eyes set exclusively on the club scene. Many are employed at influential radio stations such as youth station YFM, 5FM and Metro FM.

Euphonik himself presents a radio slot on 5FM, titled My House, where he plays his house tunes and is able to inform listeners of the latest gigs and update them on the house music scene.

Unlike conventional musicians, who are largely indebted to a record label, only earning royalties from sales, these people are individual entities in their own right.

Some have even opened their own music labels to record and produce their own music, while signing other musicians and DJs.

Lately, house is even doing well at local music awards.

In yesterday’s Metro FM Musical Awards, popular house outfit Rhythm Elements received three nominations for their album The Offering.

Arthur Mafokate, one of the pioneers of kwaito music and owner of 999 record company believes that the dominance of house over kwaito is over-hyped.

“I hate the politics of this subject because the two genres are related. Kwaito is influenced by dance music.

“Yes, house music has become more popular, but I think there is space for everyone — both house DJs and musicians of other genres,” he says.

Lance Stehr, owner of Ghetto Ruff Records, is more direct: “I think this is a sad phase for the industry because you no longer find artists on stage but these DJs behind their turntables.

“What’s also unfortunate is that they are inclined to play their own music (on radio stations). It’s rare to find, in any other country, more than five club DJs working at national radio stations and promoting themselves.”

Call it whatever you like, but this genre has become possibly the most democratic musical style around, absorbing unknown beat makers all across the country, who have surpassed the likes of kwaito kings DJ Sbu and DJ Cleo.

Just like hip-hop eclipsed other musical forms in popularity in the US, and became the money-making machine for many “heads from the hood”, for restless creative youngsters, house music is the next step to being a modern-day capitalist in South Africa.

You need no huge studio or budget, no manager, no middle man — only a dance floor in the middle of a party.

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The Decline of The Music Business.

The old music business is fading and it's a good thing. Artist's are now reclaiming their art and greatness. The music business had a big shift in 1985 when major music companies were no longer run by Artistic Executives, they were run by accountants.

Watch and listen as Frank Zappa gives you his take on the decline of the music business.

Want to know where you go?

Check out:

Tune Core
SoundCloud
ArtistShare
Broadjam

Plus, there are a truck load of music social networks.....

There are a lot of social networks online and more are created each and every day to compete in niches such as dating, pet owners, and sports fans. Knowing which ones will provide you with the resources and interaction you need to market your music is hard.

To help you get started in that process, here are ten of the best music oriented social networks currently on the Internet (that are not MySpace). If you are in a band, these are absolute must use sites for the promotion process. You should have accounts on as many as possible, at least to explore and test out their features.

MusoCity - This social network is designed around the concept of bringing together fans, musicians, artists, venues, and retailers. You can sign up for free and start sharing profiles, music preferences, and local stores to see what might be going on in your area.

Flotones - This site provides resources for fans and artists to interact with their material. Its main feature is one that allows you to promote your content through cell phones with wallpapers and ringtones. You can do this through your MySpace profile, at your shows, or on a website.

Sellaband - The Sellaband concept was controversial at the start but has turned into a surprisingly agile idea that has grown exponentially since its launch. The idea is that fans and listeners become the producers, investing money into their favorite bands to give them a recording opportunity. The investors get a small cut of the profits and the artists get a chance to record their music, as well as pick up half of the ad revenue from their music being downloaded.

Last.fm - This classic and extremely popular music networking site allows users to keep track of what music they listen to, then search for new music based on their past listening habits. Other features include the ability to listen to new music, learn more about artists, find people who have similar tastes, find local shows, create charts of top songs, and publish any of this information to a different website. Artists can upload and promote their music and videos for free.

Haystack - Another social network that allows users to search through and create their own music preferences lists, Haystack brings musicians and fans together with free, shareable videos, images, music and review content.

Mercora Radio - The social network at Mercora allows you to listen to music for free through its online radio service. It allows you to search your own hard drive as well and broadcast all legally purchased music on a radio channel to the world. Bands and artists can create their own playlists, mixing their tracks with favorites from other bands.

Sonific - The sonific interface has two sides. Side one is devoted to allowing musicians to upload and share their music through widgets on the Sonific home page. Side two allows users to access and listen to that music for free, wherever they want to put it - either on a blog, a social networking profile, or a different website. Direct downloads are not allowed.

Midomi - This site combines the same popularity of regular music social networking with some interesting and exciting new technology that allows people to actually search for songs and artists by humming or singing part of a song. It is the perfect way to find that song that you just cannot remember the name of. While it is not quite as streamlined for artist use, the novelty of its design makes it a probably contender for future growth and expansion, perfect for getting in on the ground floor of now.

MOG - This social network allows you to find new music to listen to by filtering through peoples’ profiles with custom search parameters. You will also find news, music reviews, streaming audio, TV features, and YouTube clips. Imagine MySpace Music as its own site with a few new features.

iJigg - This site allows you to comment on other songs and share your own favorites or home made tracks. The rating system allows people to decide what becomes popular and there are two different account-types - listener and artist.

The Ever Changing Music Business

 

Record labels are struggling with piracy from consumers and direct marketing by artists. Radiohead, for example, offered its last album, "In Rainbows," as a direct download before putting it out on CD.

But former music producer and self-described artists' rights advocate Moses Avalon said the music business -- and music in general -- isn't doing as badly as some observers say.

"I don't think the music industry is doing badly. I know that's the common thought. It's doing badly from the point of view from people who went from making tens of millions a year to now making a few million a year, and for them it probably feels like a financial Armageddon," he told CNN.

"But for the vast majority of recording artists, managers and producers who are people who make a decent living just like anyone else, just like any other professional -- to them, things are pretty much as they've been."

Avalon said sales are down only in the short term. In the long term, the music business has continued to grow, he said.

"One has to remember also that when people say sales are down -- sales are down compared to what? Compared to the year 2004? Yeah. Sales are down compared to the year 2004," he said. "But sales are up compared to the year 1991. So what are we talking about? We're talking about trends -- ebbs and flows of business, which are natural to all businesses."

Besides, he added, there's always a desire for music. It's just the form that it takes -- shellac 78s, vinyl LPs, CDs, Internet downloads, audio blasts through sites like Last.fm or MySpace -- that always changes.
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"People always buy music no matter what. It can even be argued that economic hardship increases the need for music and entertainment," he said.

The new reality of the music business is simple. There is no buisness model! It's all about branding and content.

Will 2009 in the Music Biz Be Like 1979?

Written by Mitch Santell

I'll never forget back in 1979 as I walked into my office to find a letter from Joe Smith. Who was he? Back then is was the Chairman of the Board of Asylum Records. The letter I received went like this:

July 24, 1979


"Dear Mitch,
Thank you for your letter and interest in Elektra/Asylum Records. We've already made moves to correct our A&R posture and think we're reasonably under control at this time.

The climate in the record industry is not good now and the chances our adding to our staff are remote for the foreseeable future. I wish you well and hope that you can get more positive feedback elsewhere.

Sincerely,

Joe Smith

Now let's fast forward shall we? The music business is only weeks away from 2009. There is a huge continued battle in the business between independents and major labels. In the past, not only did the record label act as "bank, promoter, and distributer" for the artist, they actually did something called "Artist Development." If you recall the original launch of Asylum Records included Jackson Brown, The Eagles and Linda Rondstadt. This label eventually became a division of Warner Brothers Records. Today? Warner Brothers is actually going fairly strong in an industry "trying" to get traction.

So here is my take for 2009 so hold on:

1) Physical CD sales will continue to drop.
2) More 360 deals will happen.
3) Artist's will continue to keep the rights to their content.
4) The big four may turn into the big two unless ego's are
    held in check.
5) People will by more music and P-2-P music as the global recession turns in to a global depression.

Of course on the other hand, maybe it just that Chuck E's In Love?

Each artist must remember that their career is not just one track or one album. Also, don't forget that there is a resurgence right now in vinyl, so why not press some LP's at 33 RMP and pass them round. You never know what your going to get.

forward shall we? The music business is only weeks away from 2009. There is a huge continued ba

ttle in the business between independents and major labels. In the past, not only did the record label act as "bank, promoter, and distributer" for the artist, they actually did something called "Artist Development." If you recall the original launch of Asylum Records included Jackson Brown, The Eagles and Linda Rondstadt. This label eventually became a division of Warner Brothers Records. Today? Warner Brothers is actually going fairly strong in an industry "trying" to get traction.

A little bit about Chuck E's In Love:

The album was released in the spring of 1979 to favourable reviews, propelled by the substantial jazz-pop hit single "Chuck E.'s in Love," based on a rumoured romance of her friend Weiss. The single became a US #4 hit during the summer, while the album, which went on to become a million seller, hit US #3. A second single, "Young Blood," cracked the US Top 40 in late 1979, when Jones went on an international tour.

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I'll Miss Jerry Yang!

Written by Mitch Santell

It was in 1993 that I first met Jerry at a Red Herring conference. We sat next to each chatting as we drank coffee. What I remember most about our encounter was the fact that Jerry was a man of vision. He also shared with me how his parents were very upset with him because he exited school in order to launch Yahoo.

Yahoo, in case you forgot, was very much a leading innovator during internet 1.0

Way before Google was even an idea on a napkin people around the Globe were flocking to Yahoo.

You can't hold a good thing back and Jerry has been great for innovation online. To me? Without Jerry and David were part of the huge curve that built the net.

Here is the full text from Yahoo Chief Executive Jerry Yang about his decision to step down to his earlier role as Chief Yahoo.

From: Jerry Yang

Sent: Monday, November 17, 2008 5:03 PM

Subject: update

yahoos -

i wanted to address all of you on the news we've just announced. the board of directors and I have agreed to initiate a succession process for the ceo role of yahoo!. roy bostock, our chairman of the board, is leading the effort to identify and assess potential candidates for consideration by the full board. the board will be evaluating and considering both internal and external candidates and has retained heidrick and struggles to help in this effort.

i will be participating in the search for my successor, and i will continue as ceo until the board selects a new ceo. once a successor is named, i will return to my previous role as chief yahoo and continue to serve as a director on the board.

last june, i accepted the board's request that i assume the ceo role to restructure and reposition the company as a whole in order to more effectively meet the fast-changing needs of both users and partners. since taking on the ceo role, i have had an ongoing dialogue with the board about succession timing. thanks in large measure to your tireless efforts, we have created a more open, competitive yahoo! and we believe the time is now right to transition to a new ceo who can take the company to the next level.

despite the external environment we face, the fact remains that yahoo! is now a significantly different company that is stronger in many ways than it was just 18 months ago. this only makes it all the more essential that we manage this opportunity to leverage the progress up to this point as effectively as possible. i strongly believe that having transformed our platform and better aligned costs and revenues, we have a unique window for the right ceo to take ownership over the next wave of mission-critical decisions facing the company.

all of you know that I have always, and will always bleed purple. i will always do what I think is right for this great company. while this step will be an adjustment for all of us, i know it's the right one. i look forward to updating you on this process as soon as the board has developments to share, and will continue to do everything i can to make yahoo! fulfill its full potential.

thank you,

jerry

Peter Gabriel, Artist, Founding investor in We7 Music Service.

November 11, 2008

Written By Andre Paine, London
Edited by Mitch Santell

We7 is rolling out its full music service, after a year of beta testing of the audio and digital advertising-funded model.

The digital music service has all four majors and hundreds of independent labels via The Orchard on board. We7 compensates rights holders and artists from ad revenues.

The Oxford–based company allows free on-demand access to full tracks and albums for streaming, and users can also create playlists and share favorites with friends.

The site also allows users to purchase downloads in MP3 format to keep, although not all tracks available for streaming are available to be purchased yet. The company says around 50% are available to buy DRM-free and the rest will become available in the next 90 days; until then, an iTunes link appears next to those tracks.

We7 says its ‘celestial jukebox’ streaming service has three million licensed tracks, including new releases. The ‘play anywhere’ feature allows blogs and Web sites to use widgets to link to tracks or artists on We7.

Peter Gabriel is a founder investor and board member of We7.

"It was just 18 months ago that we had the dream of delivering great music that's free and legal for consumers and where artists and rights owners get paid,” said CEO Steve Purdham in a statement. “We7 has great music and that builds great audiences which will be highly valuable to brands and advertisers.”

Geoff Taylor, chief executive at U.K music industry trade body the BPI, added: "Record labels are licensing a wide variety of new business models so music fans can access the music they want, when, how and where they want it, while respecting the rights of artists.

“We7 is a very good example of how the music business is leading the digital content revolution. But for digital entrepreneurs like We7 to continue innovating and investing in new services for consumers, we must tackle illegal downloading, which undermines the business case for all legal services.”

The We7 service works by targeting users, based on their sign-up details, with audio ads that precede the free music tracks and digital ads.

The Brill Building.

They don’t make buildings like the Brill Building anymore, with these Art Deco facings, hushed marble lobbies, and gold-plated busts of businessmen looming over Times Square like headhunter sacrifices on a Mayan temple. Already the Brill Building looks like a lonely anachronism: dwarfed by Godzilla sized skyscrapers and its golden sunbeam crown is already out-shone by the digital billboards and neon tubing ringing the television studios in Times Square. The Brill Building has been trumped by the 21st Century.

In the 1960’s the Brill building was the nerve center of the entire pop music industry, the official headquarters of Tin Pan Alley. Pop music really was an industry back then. Hundreds of songwriters sat inside this building in a rat maze of cubicles, pounding out five songs a day for an army of bubblegum pop stars to perform. At one time, the Brill Building housed 160 musical sweatshops, paying thousands of writers $50 a week—employing unknown talent like Burt Bacharach, Carole King, Paul Simon, and Neil Diamond for peanuts.

Definition: The "Brill Building Sound" may be the only subgenre of pop music named after a building, for it was in that very building, a former monolith of New York City's Garment District located at 1619 Broadway, where producer Don Kirshner placed the best and brightest songwriters of the Camelot years. They were early-Sixties mainstays, almost all duos, whose very names became emblematic of great pop songwriting: Lieber and Stoller, Goffin and King, Mann and Weil, Bacharach and David, Pomus and Shuman, Sedaka and Greenfield.

If you don't recognize the names, it's for sure you've heard their work, for the "Brill Building" sound -- more an aesthetic, really -- provided modern sounds steeped in classic New York "Tin Pan Alley" songwriting for the girl groups and teen idols of the day. In fact, some confuse the girl-group sound for Brill Building, but in truth, the Brill stuff was poppier, more laden with strings, more giddy with romantic possibility than some of the earthier R&B stuff (or even the girl groups of Motown). (There's also often a distinct Latin feel, a theme common to the New York pop of the era.) And their teen idol fodder was miles more honest and musically advanced than the pap that the Paul Ankas and Pat Boones of the world had produced.

This was, in other words, sophisticated pop for teens in the first blush of love, and it's precisely that combination of classic songwriting technique and post-rock modernism that helped it get over and kept it fresh and exciting in the years since. In addition, the assembly-line mechanics of the Building could not have been lost on future labels: artists could get a song from one piano-stocked "office," go to another floor and pay for an arrangement, then go to yet another and get it published. A completely self-contained one-stop song shop for talent.

Also Known As: Brill Building Pop, Girl Group, Teen Idol
Examples of hit songs created at the Brill Building include:

   1. "Calendar Girl," Neil Sedaka
   2. "Dream Lover," Bobby Darin
   3. "Stupid Cupid," Connie Francis
   4. "Take Good Care Of My Baby," Bobby Vee
   5. "One Fine Day," The Chiffons
   6. "Chapel Of Love," The Dixie Cups
   7. "Spanish Harlem," Ben E. King
   8. "The Loco-Motion," Little Eva
   9. "He's A Rebel," The Crystals
  10. "Maybe I Know," Lesley Gore

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