Film, music run CMJ marathon NEW YORK (AP)—If an athletic marathon is 26 miles long, what exactly is a music marathon? Spread over four days, the College Music Journal’s annual Music Marathon presented more than 1,000 bands performing live, 17 film pre mieres and 93 panel discussions. All of it was attended by more than 8,000 registrants representing all sectors of the music industry and college radio. From rookie program directors at small schools to veteran record label executives, almost everyone found something useful - and that’s not just free CDs and magazines. The panels covered everything from on-the-road touring horror sto ries to new promotional strategies for major and independent labels, to genre-specific discussions on the state of heavy metal, hip-hop and electronic dance music. At night, attendees packed clubs around the city to check out estab lished acts, overseas curiosities from Japan, Holland and Sweden, and dozens of unsigned bands eager to land a record deal. The scope of the conference rep resented the eclectic world of college music, which has expanded since the days of guitar-centric bands like U2, - R.E.M. and The Police. Since the multiplatinum success of Nirvana, major labels have looked to the college charts as a barometer of new tastes and trends and as a testing ground for younger bands. At the same time, hundreds of independent labels rely on the college airwaves as a crucial outlet for their acts, with commercial radio stations increasingly limiting their playlists to guaranteed hits. Today’s college radio stations are a patchwork of specialty music shows and styles. In this crowded market place, getting bands heard is a chal lenge, but translating radio spins to sales can be even tougher. Several panels advocated using the Internet as a way to get around tra ditional marketplace structures. “Retail is dead,” said Paul Stark from Minneapolis’ Twin/Tone records. “There’s no reason to spend thousands on pumping the retail mar ket” Stark sees digital distribution of music over the Internet as a necessary means of survival for smaller labels that can no longer afford the costs inherent in manufacturing CDs and cassettes. Plus, larger retail chains will no longer stock low-selling artists, Stark said. Digital distribution has the poten tial to put music directly into the con sumer’s hand without having to go to a store. Stark is pairing with California based Liquid Audio, a company focused on distributing CD-quality music over the Internet, which was one of many high-tech outfits at CMJ. Two Web sites, http://CDnow.com and http://Amazon.com, offered their services to smaller bands hoping to sell their CDs on the Internet Billboard magazine advertised its Billboard Talent Net Web site, an online showcase for new artists that promotes their music to industry pro fessionals and music enthusiasts. Technology’s influence on music was apparent in many of the nighttime shows during the Nov. 4-7 confer ence. The opening night party focused more on DJ performances than live bands, with some acts blur ring the lines between both. British producers Coldcut per formed from two laptop computers with their music synchronized to video clips. One nightclub offered four floors of DJs representing tech no, drum and bass, house, big beat and other genres of the international electronic dance scene. However, the Music Marathon’s meat and potatoes was based on live bands, and rock fans had hundreds of gigs they could attend. The Cardigans, Afghan Whigs, Morphine and Sunny Day Real Estate were some of the better-known bands. Also performing: The Donnas, a quartet of female rockers from California, and' the Hellacopters, a hard-rock metal group from Sweden. ‘Pterodactyls’ to descend on Community Playhouse Don’t be afraid, Barney hasn’t grown wings. “Night of the Pterodactyls,” which opened Thursday at the Lincoln Community Playhouse, is the most I I —a recent production of the Playhouse series, Children’s Theatre. The whimsical title refers to the active imagination of Cariy, the new girl in town whose creativity and intelligence attract the attention of 12-year-old Walt As their friendship grows, Walt group of male Mends, a k a GAs (Gross Associates), his fondness tor the strange girl. The play addresses childhood and adolescent issues of peer pressure, individuality and honesty. The Children’s Theatre describes its goal ' as “to entertain and edu r cate our youth always ques tioning die choices each ‘char acter’ makes.” The play is appropriate 0 « for children ages 5 and up. Tickets are $15 for adults and $9 for students and children. Show times for thi ********* **m^ar^~— 0 Outback Doors Opan »t 130 |_SWWG XITt - ItlUKSDAY B