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It must be difficult for makers of audio equipment to decide how to best exhibit their products at events such as the annual Consumer Electronics Show. If you're doing a demo, you want it to impress audio journalists and potential dealers, and sometimes just playing music is not enough: you need something extra. A few years ago, Joseph Audio put on a demo, supposedly of their top-of-the-line floorstanding speaker, during which Jeff Joseph removed a cloth that had been draped over what was assumed to be hotel-room furniture. Under that cloth were the speakers that were actually playing: Joseph's new in-wall model, mounted on flat baffles. Wilson Audio Specialties demonstrated their speakers with purportedly ultra-high-end electronics and digital source, then revealed that they were actually using a modestly priced preamp and power amp, and that the source was an Apple iPod.

Universal Music Group must be taking its name seriously these days. At a time when some proclaim the demise of the classical recording industry, the conglomerate's many subsidiaries —Decca, Deutsche Grammophon, Philips, and Archiv, along with ECM, which has only a marketing and distribution arrangement with UMG —are embracing new projects on multiple continents with determination and optimism.

On March 2, the Copyright Royalty Board (CRB) published a "Determination of Rates and Terms," which announced an artist and recording company royalty fee structure for Internet radio based upon a "per song" structure. As it so happens, that was the model proposed by SoundExchange, a digital fee collection agency founded by the Recording Industry Association of America (RIAA).

So I'm sitting in traffic on MOPAC, the north/south expressway in Austin, listening to Willie Nile sing "Streets of New York," a tune that can be thought of as his "Jungleland" from his latest album, Streets of New York, on the CD player of my rented Jeep Liberty.