Dear David

I was just checking out your profile on Ecademy and it bought me to this site. Just wanted to wish you the Very Best in getting the job you are aiming for.

On another note, I love the Guitar sound and love players like Paul Kossoff, Frank Marino, Larry Coryell amongst others. Wish I could play Guitar.

For Inspiration and Positive Lyrics For The Betterment of the World

Please check out - Therlow Tsagazahab Snape - Master of Lyrics - Founder of Connecting Routes. He has a website at -

www.connectingroutes.co.uk

where you can download 3 Great songs and a Video for free. Have a good day.

Rajesh Aggarwal FRSA
Semrete Selassie - The Will of The Trinity
Personal Manager/Promoter/Personal Agent of Therlow Snape - The Greatest Reggae Artist On The Planet.

raj@connectingroutes.co.uk

r.aggarwal@ntlworld.com

www.connectingroutes.co.uk

David,

If you are interested in the above I would suggest contacting Line Communications, who are based in London.

http://www.line.co.uk/

They might be worth a try and carryout projects for the BBC etc.

I'm looking to do a runner job in the music industry adn was wondering if you could help me?

Peter, sorry, I don't have contacts in that area.

Hi David, I stumbled upon your site while researching a project I'm undertaking for the BBC. I realise some of the postings are now pretty dated, but I'm particularly interested in your ideas about the BBC archive and how it can be effectively utilised online, and your reaction to the recent charter renewal. I'd be interested to hear your thoughts on the BBC Archive's recent offerings of video content too – do you think the VJing clips worked? Or were they too content-specific?

Interestingly, the archive is, in a way, available for commercial purposes already – under the guise of BBC Worldwide, whose profits (as the consumer arm of the BBC) are invested directly back into the BBC and help to keep the licence fee down. All the best, TD

Thanks, T.D. I made some comments about the Superstar VJ initiative in this posting (albeit mostly about the user interface rather than the content per se), and also referred to it in my Spectator article at the end of last year. I heard this week that there were 400 entries to the competition. If that's the case, then I think there is significant 'public value' (to use the terminology du jour) in raising the bar for media literacy and skills development — irrespective of the value of the content itself (which did appear to be of marginal value on its own).

You're right about some postings being dated. If I were writing this again now, the Creative Archive would play a much less central role. The scope to include significant music-related material seems to be diminishing as awareness of the commercial potential of documentary material is rising.

My own plans have evolved and my aim is now slightly different — I should post an update here sometime.

When you write "the archive is... available for commercial purposes already", how much of the archive is available. To pick an example at more or less random, are all 14 hours of The Story of Atlantic (radio documentary) available for re-use?