-- In honor of Saturday’s Record Store Day, Spin named its 15 best record stores in the U.S. The list is predictably heavy on rock-leaning locations. Spoiler alert: #1 in Amoeba (all three locations). Austin’s Waterloo is #2 and New York’s Other Music is #3. (Spin.com)

-- Consol Energy Center, Pittsburgh’s new arena, may help the city get more big touring acts. It is better at handling big productions that its predecessor, Mellon Arena. According to the venue’s web site, it has a center stage capacity of 20,000 and an end stage capacity of 14,500. SMG will manage the new building. Live Nation will promote its concerts. (Post-Gazette)

-- If certain online activities infringe upon copyright, and if laws to deal with those illegal activities are unpopular, one solution is to change the terms of copyright so previously illegal activities become legal. Perhaps in a reaction to the anti-piracy provisions in Digital Economy Bill, an op-ed at The Economist called for copyright protections to be scaled back. “The value society places on creativity means that fair use needs to be expanded and inadvertent infringement should be minimally penalized.” The op-ed added that revisions to copyright terms need not “get in the way of the enforcement of copyright, which remains a vital tool in the encouragement of learning. But tools are not ends in themselves.” (The Economist)

-- Eric Levin of Criminal Records in Atlanta on the relevance of physical product: “The digital world we live in is not going away, but we’re seeing a lot of people going back to ownership. Buying digital music is really just renting it. Owning something is really a value proposition and it’s compelling.” I completely agree, as I explained in last week’s post, “Selling Copies is Toast? Not If You Want to Make Money Today.” (Daily Swarm)

-- London’s theater business is booming – not because of the Internet, but because of television. “A new generation of theatregoers is descending on the capital,” writes The Telegraph, “their curiosity aroused by the way Lord Lloyd-Webber, the composer, has harnessed TV to catapult unknown singers and dancers on to the West End stage.” These shows that discover new talent pique consumers’ interest in musicals. That, in turn, results in greater interest for other production. A survey by the Society of London Theatre found that 23% of people who went to the theater to see a musical are now interested in seeing a play. (The Telegraph)
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