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Indian E-music – The right mix of Indian Vibes… » 2017 » January » 10


THE SHAKY KNEES MUSIC FESTIVAL 2017 LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Tue 10 Jan 2017 9:00 pm
The Shaky Knees Music Festival 2017 lineup is out and tickets are on sale! The xx , LCD Soundsystem, Phoenix, Cage The Elephant, Pixies and The Shins all lead the lineup!

TOMORROWLAND 2017 TICKET REGISTRATION IS NOW OPEN

Delivered... Spacelab - Independent Music and Media | Scene | Tue 10 Jan 2017 9:00 pm
Tomorrowland ticket registration is open! Get all of the ticket on sale dates! Tomorrowland is a huge music festival in Boom, Belgium; it's known as one of the premiere electronic music festivals in the world. Tomorrowland has the world's best Trance, House, Chill, Trap, Electro, Hardstyle and more. The Tomorrowland 2017 dates are July 21 - 23 AND July 28 - 30! That's right — Tomorrowland has become a two-weekend festival!

BEYOND WONDERLAND SOCAL 2017 TICKETS ARE ON SALE!

Delivered... Spacelab - Independent Music and Media | Scene | Tue 10 Jan 2017 9:00 pm
Beyond Wonderland SoCal is an electronic music festival that uses a story-telling angle to set a context for a fantasy electronic music festival. The Beyond Wonderland SoCal 2017 dates are March 24 - 25 at the National Orange Show Event Center in San Bernardino.

Mesanovic Microphones Releases Model 2AS Active Stereo Ribbon Microphone

Delivered... Emusician RSS Feed | Scene | Tue 10 Jan 2017 8:17 pm
Model 2AS Stereo Ribbon Microphone Combines Mesanovic Motor Design and Active Circuitry.

Plug-in Collective Provides Studio Session Analyzer for Free

Delivered... Emusician RSS Feed | Scene | Tue 10 Jan 2017 7:38 pm
Studio Session Analyzer from Flux until 31st January 2017

Sony’s gestural projector could change interaction

Delivered... Peter Kirn | Scene | Tue 10 Jan 2017 7:23 pm

Last week’s CES trade show was full of weird and unlikely inventions. But some of them point at directions in tech that could bear fruit. Take this Sony Xperia Projector prototype. The consumer benefits aren’t immediately clear – but media artists may see the perfect self-contained interactive installation.

The Verge gets a hands-on with the device:

Basically, it’s three technologies in one. It’s a pico projector, and those may continue to improve as LED tech scales. It’s an Android mobile gadget – and unlike iOS, Android has the benefit of being to run on any device imaginable as a general purpose embedded solution.

And it’s an interactive gestural … uh … thing. It’s hard to know what to call it, actually. Multi-touch isn’t the right word, because you don’t actually touch anything.

Indeed, it’s a reminder of the potential of infrared sensing. Years ago, my very first interactive / creative coding experience was with Flash and simple Sharp IR range sensors – as this was the tech of choice long before the debut of things like Kinect. And while infrared requires line of sight (as seen in the video), it’s pretty predictable.

Put them together, though, and you get a projector that lets you run and interact with apps anywhere. In fat, it’d be perfect for installations, except that it isn’t as easy as it should be to lock down Android into presentation mode. (Cough.)

I can also imagine some creative music apps.

But I have to differ with the reviewer here. I’d love one of these round the house or in a backpack. And even if the Sony device here doesn’t make it to market, it’d be possible to whip up a similar combination of technology as DIY solution.

Seen anything else interesting in creative technology at CES? Give us a shout. We’re always up for off-center thinking.

The post Sony’s gestural projector could change interaction appeared first on CDM Create Digital Music.

Denon DJ Introduces new VL12 Prime Direct-drive Professional DJ Turntable

Delivered... Emusician RSS Feed | Scene | Tue 10 Jan 2017 2:45 pm
Denon® DJ vl12 Prime Direct Drive Table Stuns DJ Market with Unmatched Combination of Performance, Build and Looks

Budweiser kick starts 2017 by partnering with Vh1 Supersonic – RadioandMusic.com

Delivered... "Indian Electronic Music" - Google News | Scene | Tue 10 Jan 2017 2:27 pm

RadioandMusic.com

Budweiser kick starts 2017 by partnering with Vh1 Supersonic
RadioandMusic.com
MUMBAI: Indian electronic music fans are in for exciting times in 2017 as Budweiser continues to play a pivotal role in shaping the electronic music culture in India by bringing some of the most renowned electronic music events of the world to Indian ...

and more »

Wo bleibt der Culture Clash?

Delivered... Kerstin Klenke | Events,Scene | Tue 10 Jan 2017 1:59 pm

Im Dokumentarfilm Bonfire and Stars trifft ein Moskauer Electronica-Musiker auf tscherkessische Volksmusiker, um mit ihnen zu musizieren. Statt des erwarteteten «Culture Clash» entsteht eine Kollaboration auf Augenhöhe, die jedoch nicht konfliktlos ist. Der Film Bonfire and Stars wird auf dem 8. Norient Musikfilm Festival 2017 in Bern gezeigt.

Still aus Bonfire and Stars (Sasha Voronov, Russland 2016)

Culture Clash: So übertitelt Carmen Gray ihre Rezension von Bonfire and Stars von Sasha Voronov im Calvert Journal. Das lässt Ungutes vermuten – so auch die Grundkonstellation des Films. Der junge Moskauer Electronica-Künstler Fyodor Pereverzev aka Moa Pillar wird vom ebenfalls in Moskau ansässigen Filmkollektiv «Stereotactic» in die Föderationsrepublik Kabardino-Balkarien im Nordkaukasus geschickt. Seine Mission: vor Ort musikalische Kollaborationen mit tscherkessischen Volksmusikern eingehen, begleitet von einem Filmteam.

Mittelsmann dieses Experiments ist Bulat Khalilov aus Nal’chik, Kabardino-Balkariens Hauptstadt, der sich als Radiomacher und Mitbegründer des Labels Ored Recordings kaukasischer Volksmusik verschrieben hat. Pavel Karykhalin, Mitbegründer und Produzent bei «Stereotactic», fasst das so zusammen: «Wir haben uns gefragt, was passieren würde, wenn wir einen Typen aus dem modernen Moskau in einen tiefverwurzelten traditionellen Kontext verfrachten und schauen, wie er sich einbringt».

Bonfires & Stars | Trailer from STEREOTACTIC on Vimeo.

Arroganz meets Unbedarftheit?

Das klingt nach Technologie meets Tradition, Metropole meets Natur, Arroganz meets Unbedarftheit, Kosmopolit meets Hinterwäldler, Zentrum meets Peripherie – nach Hierarchien und schließlich nach culture clash, aber vor allem nach Geschichtsklitterung: «Ein tiefverwurzelter traditioneller Kontext»? Immerhin gehörte Kabardino-Balkarien knapp sieben Jahrzehnte zur Sowjetunion und war Teil ihrer umfassenden kulturrevolutionistischen Modernisierung und Musikpolitik. Das kommt nicht vor, weil es wohl nicht ins Bild passt.

Der Film könnte lächerlich werden, es könnte einem aber auch das Lachen vergehen. Und am Ende wird einer der Loser sein. Ich tippe auf Fyodor. Und Bulat? Dem netten und freundlichen Bulat wird vermutlich die undankbare Rolle des verzweifelten und unfreiwillig komischen interkulturellen Mediators zukommen. Er eröffnet dann auch den Film, mit einer Sequenz aus einer Art Filmtagebuch, in der er retrospektiv daran zweifelt, dass das Experiment gelungen sei. Das passt zu meinen Erwartungen, auch die weiteren Minuten: Fyodor in seinem urbanen Habitat mit viel Technologie und auf dem Weg nach Nal’chik. Dann Natur, Berge – der Kaukasus. Alles klar. Und dann?

Wird alles anders als erwartet. Nachdem Bulat Fyodor am Flughafen abgeholt hat, treffen die beiden auf verschiedene Musiker. Aber von kosmopolitischer Arroganz ist bei Fyodor nichts zu sehen. Er ist interessiert, zurückhaltend, respektvoll und reflektiert – ein Mensch, der sich weder in amüsierter Distanziertheit noch in going native übt.

Still aus Bonfire and Stars (Sasha Voronov, Russland 2016)

Keine Einigkeit

Auch die Musiker, mit denen er zu tun hat, entsprechen nicht dem Bild der unbedarften Hinterwäldler, denen es im Angesicht von Elektronik die Sprache verschlägt. Sie sind keine austauschbaren Repräsentanten einer idyllischen, gefrorenen archaischen Kultur. Im Gegenteil vertreten sie wohl artikuliert, überlegt und teils sehr scharfsinnig ganz unterschiedliche Positionen zum Thema: Was kann, darf, soll oder bringt eine Fusion von Volksmusik mit Elektronik, genauer gesagt: mit der Art von Elektronik, für die Fyodor steht?

Denn, auch wenn das nur kurz anklingt, andere Arten dieser Fusion sind natürlich längst Teil der nordkaukasischen Musik – als so genannte Popsa, Estrada, Restaurant- oder Hochzeitsmusik. In der Ablehnung dieser Musik dürften sich alle Protagonisten des Films einig sein. Ansonsten gibt es wenig Einigkeit unter ihnen, inklusive Bulat, der zweifelt, aber nicht verzweifelt. Es gibt aber auch wenig, was den Begriff «culture clash» rechtfertigen würde. Eher zeigt Bonfire and Stars ein Zusammentreffen von Musikern verschiedener Genres aus verschiedenen Teilen der ehemaligen Sowjetunion, die die Kompatibilität ihrer Genres, wie auch die Notwendigkeit und die Grenzen von Fusion verhandeln – und zwar auf Augenhöhe.

Das ist spannend, anregend und bewegt sich jenseits aller Klischees von musikalischer Urtümlichkeit vs. Avanciertheit. Filmisch ist Stereotactic dabei eine intime, aber nicht intrusive Dokumentation dieser Begegnungen gelungen. Nur zwei Dinge irritieren am Ende des Films: Warum haben die tscherkessischen Musiker keine Namen – weder in den Untertiteln noch im Abspann? Und warum waren keine Musikerinnen zu sehen?

Der Dokumentarfilm Bonfire and Stars wird am 13. Januar 2017 in Bern auf dem 8. Norient Musikfilm Festival 2017 gezeigt.

Dim Mak Releases Greatest Hits 2016

Delivered... Emusician RSS Feed | Scene | Tue 10 Jan 2017 1:58 pm
Available on iTunes

Singer Payal Dev happy to croon for Swachh Bharat Abhiyan – RadioandMusic.com

Delivered... | Scene | Tue 10 Jan 2017 9:00 am
Singer Payal Dev happy to croon for Swachh Bharat Abhiyan  RadioandMusic.com

DJ Axwell to explore potential collaborations in India – RadioandMusic.com

Delivered... "Indian Electronic Music" - Google News | Scene | Tue 10 Jan 2017 8:55 am

RadioandMusic.com

DJ Axwell to explore potential collaborations in India
RadioandMusic.com
MUMBAI: The Indian music scenario is booming at the moment with music festivals being at their peak. The musicians across the globe are looking forward to performing in India, thus DJ Axwell's plans to explore possible collaborations in India does not ...

and more »

FCC Clarifies Public File Obligations for Identifying Issues and Sponsors for Political Ads – Admonishes Numerous TV Stations for Violations

Delivered... David Oxenford | Scene | Tue 10 Jan 2017 5:47 am

Late Friday, the FCC’s Media Bureau issued an order (at this time available in Word format only, here) clarifying its public file rules for political ads – both ads from candidates and from third-party groups.  The FCC’s clarifications require broadcasters who run candidate or issue advertising to include information about not only the candidates mentioned in an ad, but also any Federal issues that the ad addresses.  On sponsorship identification, the FCC focused on third-party ads, requiring that broadcasters make an inquiry as to the complete set of executive officers or the complete board of directors of any sponsor.  The FCC went on to admonish a number of stations for violating the rules but, as the rules were just clarified, only admonished these stations rather than issuing any fines. This decision was in response to complaints filed by the Campaign Legal Center and the Sunlight Foundation alleging the public file omissions of these stations – complaints that we wrote about here.

The FCC’s order interprets Section 315(e) of the Communications Act, which sets the rules for the disclosures required for political ads.  Under that Section, any political ad that deals with a legally qualified candidate, an election for a Federal office, or with any political issue of national importance, must disclose a variety of information.  That information requires that, in connection with any request for political time, the station must disclose in its public file (1) whether or not the request was accepted, (2) the class of time purchased, (3) the price at which it was sold, (4) the name of the candidate that the ad addresses or the election to which it is directed or the issue discussed, (5) if the ad was bought by a candidate’s authorized committee, the name of the committee and its treasurer, and (6) if the ad was not placed by a candidate’s committee, the name of the sponsor and, where the sponsor is not an individual, the name of the sponsor’s chief executive officers or its executive committee or its board of directors, plus the name, phone number and address of a contact person at the committee.  These requirements were clarified in several respects by the FCC’s order.

The specific areas dealt with by the clarifications were as follows:

  • The order required broadcasters to identify in its public file disclosure every issue and candidate that is addressed by an ad – the identification can’t just stop by naming the candidate or the principal issue addressed. The FCC rejected claims that this would be too much work for broadcasters saying that the spots are usually 30 seconds, and sometimes 60 seconds long, so that it should not take a broadcaster that much time to note all of the issues and candidates addressed.
  • The order made clear that the statute and rules require that licensees must disclose all of the chief executive officers or members of the executive committee or board of directors of any person seeking to purchase broadcast time. In cases where a station initially is given the name of a single official of a sponsoring entity, or where the station otherwise has a reasonable basis for believing that the information initially provided is incomplete or inaccurate, the station is obligated to inquire whether there are any other officers or members of the executive committee or of the board of directors of such entity.  When a sponsor fills out the station’s disclosure forms, or otherwise tells the station the name of only a single individual when asked for its chief executive officers or directors, the broadcaster must ask if that is really a complete list of the officers and, if assured that it is, seemingly need investigate no further.
  • The Commission made clear that a broadcast message must be “political” in nature and must be of “national importance” to trigger a licensee’s record-keeping obligations under the statute – giving the example of a car dealer who mentions in an ad that it is having an election day sale is not political in nature even though it mentions the election. The Commission did go on to say, however, that the issue need not be one that is currently encompassed in pending legislation to be considered a “national legislative issue of public importance.”  This term also encompasses other political issues that are the subject of continuing controversy or discussion at the national level – issues like the national debt, defense and abortion rights being the kinds of issues that are almost always subjects of national importance even if not in specific legislation at the time that the ad runs.

The requirement that a station include in its public file disclosures every issue and candidate that is addressed by a political ad seems to be the one most likely to cause stations the most problems.  One can easily think of some of the recent attack ads from the last Presidential campaign to recognize that one ad – even if it is only 30 or 60 seconds long – can easily require a laundry list of disclosures.  For instance, some ads from Republican groups attacking Hilary Clinton presumably would have required disclosures of issues including preserving government secrets (in connection with the alleged breach of security protocols by the private server), national security (in connection with attacks about Benghazi and the growth of ISIS), Supreme Court nominations and the abortion debate (given the open seat on the Court) and probably many other issues – as well as disclosing that the ad targeted the candidate and the race for President.  Similar lists can result from many other ads – and the sponsors may well be unwilling or untrustworthy about providing a complete list.  The Media Bureau made clear that it is the station’s obligation to make sure that issues are accurately identified for each political commercial.

The clarification about the context of the ad is important too.  While the FCC staff gave the one example of the car dealer having an election day sale would clearly not be a political ad based on its context, there were a number of other examples where the context cut the other direction.  This would include the ubiquitous ads that talk about some political issue and how bad the arguments are for one side of that issue, and then end with the admonition that the members of the audience should “call Senator X” and tell them to vote a particular way about the issue discussed by the ad.  Even though the ad never mentions the election, the Media Bureau made clear that if Senator X is running for reelection at the time that the ad is run, one of the subjects listed in the ad should be his candidacy.  Stations will have to monitor this kind of ad, and know which Federal officials are running for office in their service area, to make sure that they catch these oblique references to an electoral campaign.

Sponsorship, too, must be complete and understandable to the station viewer or listener.  In a separate decision, issued at the same time as the more general order, the FCC staff admonished one station for listing an ad’s sponsor as the “DSCC-IE.”  Those initials stood for the Democratic Senatorial Campaign Committee – Independent Expenditure.  As those initials might not be recognizable to members of the general public, the FCC admonished the station for its incomplete disclosure.

The FCC staff also made clear that these kinds of objections can be raised not only by local citizens of the station’s service area, who normally are the ones thought to have “standing” to challenge a station’s action.  The Media Bureau said that the public file is required not just for local citizens, but for researchers, public interest groups and others who want to monitor what is going on at a station.  Thus, seemingly, any one in any of these groups would have standing to challenge a station for not having a complete file, not just in connection with the political file but for any other deficiency as well.  This may be one of the first times that the FCC staff has said that these kinds of distant organizations have standing to file complaints against broadcasters on a public file issue.  Did the FCC really mean for all of these disclosures to be for the benefit of researchers and public interest groups?  Is that really the purpose of a public file?   Should the FCC really be putting burdens on any business just to benefit researchers and public interest groups – or should those burdens be restricted to those which truly will lead to some benefit to local residents of a station’s service area?  Seemingly, this is the kind of question that some broadcasters admonished for their violations of this newly interpreted rule might want o raise on reconsideration of this order – one likely to be heard by the new FCC after the Presidential inauguration.  According to trade press, Republican FCC Commissioners indicated that they had no input into the final language of the decision and that they may want to review it after the inauguration.

In the meantime, these orders require careful review by broadcasters, as the nuances and examples provided by the order will give more guidance to stations as to what the FCC staff seems to be requiring by this decision.  We’ll also be watching to see what the parties admonished in these decisions do with this decision – whether it will be appealed to the new Commission to further address the matter and some of its implications for broadcasters in the future.

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