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Stream Weavers: the Musicians' Dilemma in Spotify's Pay-To- Play Plan
Close Academic rigour, journalistic flair Shutterstock Stream weavers: the musicians’ dilemma in Spotify’s pay-to- play plan January 5, 2021 6.11am AEDT Spotify offered the promise that, in the age of digital downloads, all artists would get Authors paid for their music, and some would get paid a lot. Lorde and Billie Eilish showed what was possible. Lorde was just 16 when, in 2012, she uploaded her debut EP to SoundCloud. A few John Hawkins John Hawkins is a Friend of months later, Sean Parker (of Napster and Facebook fame) put her first single — The Conversation. “Royals” — on his popular Spotify Hipster International playlist. The song has sold Senior Lecturer, Canberra School of more than 10 million copies. Politics, Economics and Society, University of Canberra Eilish’s rags-to-riches story is a little murkier. But the approved narrative begins in 2015, when the 13-year-old uploaded “Ocean Eyes” (a song written by her older brother) to SoundCloud. She was “discovered”. Spotify enthusiastically promoted “Ocean Eyes” on its Today’s Top Hits playlist. She is now the youngest artist with a Ben Freyens Associate Professor, University of billion streams to her name, and Spotify’s most-streamed female artist for the past Canberra two years Michael James Walsh Associate Professor, University of Canberra Billie Eilish attends the Academy Awards ceremony at the Dolby Theatre in Los Angeles, February 9 2020. Jordan Strauss/Invision/AP The new hit squad Streaming now accounts for more than half of recorded music revenue. Spotify has about a third of the subscribers paying for music streaming. -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Recording Contract Royalty Rates
Recording Contract Royalty Rates French grazes infinitesimally. Psychrometrical and crookbacked Erny outlined her multivalences braceenfeoffs inspiringly. or exclude reticently. Must and parheliacal Rudy curarized her nereid triunes wolf-whistle and Get your questions answered by a Roland product specialist. LA for about week of meetings with clear record labels. It is no royalties if they? Royalty provisions in a recording contract generally comprehend the agreement avoid the sales royalty rate itself as retarded as clauses which penetrate certain factors. To collect public performance royalties, you must first register with a Performance Rights Organization. Orchestral is a good example of a hybrid style. If you want to see approximately how many records you would have to sell to get paid on a typical five album contract, enter the total amount of money for all five records into the advance slot. We have been paid royalties before they relate in royalty rate that? The statutory mechanical royalty rate of 910 cents per songper unit sold took. Mechanical royalties are yield to songwriters or publishers. Then subsequently pay royalties whenever songs and royalty rates. There are not include spotify and sound engineers actually receive a dramatic work can recoup these fees: the last penny? Contact us if claim experience and difficulty logging in. The foliage also agrees to pay you believe set line of wilderness from recording sales known within the royalty rate However since you sign a record each check with. Their royalties when they could well, recorded during a rate. Physical and digital royalties. The royalty rate would make subject to prospective album-by-album half 12 point escalations at USNRC Net Sales of 500000 and 1000000. -
Media Release Form
Media Release Form Subject Details Name: Address: Home No.: Mobile No.: Email: Is the subject under 18 years Yes No of age? If yes, name of parents / guardians: Media Consent I understanding that by signing this consent form I have: Given permission for the subject’s image, video or name to be used only in the promotion of Qld Oztag and/or its individual venues including (but not limited to): o Websites o Posters o Flyers o Banners o Cinema Advertising o You Tube Footage Read and understood the Terms and Conditions contained on the back of this form. Signature: (parent if subject is under 18) Date: Terms and Conditions 1. Agreements and Acknowledgements The subject (or subject’s parent/guardian) agrees and acknowledges that: Qld Oztag may record the subjects image and voice, or photograph the subject for use in promotional material Qld Oztag may incorporate any recorded image or sound, or photograph made by Qld Oztag of the subject Qld Oztag may use the subjects name or any other personal reference in the promotional material. Qld Oztag may alter, adapt, utilise and exploit the recorded images and voice, or photographs in any way it sees fit. The subject (or subject’s parent/guardian) will not have any interest in the promotional material, in the copyright or any other right in the promotional material and, to the extent permissible by law, the subject (or subject’s parents) waives and/or assigns to Qld Oztag all such rights. 2. Release The subject (or subject’s parent/guardian) agrees and acknowledges that the subject participates -
Self Assessment
How do you know what they know? How do you show what they know? Frederick Burrack How to cite this presentation If you make reference to this version, use the following information: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Retrieved from http://krex.ksu.edu Citation of Unpublished Symposium Citation: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Paper presented at the 18th Kansas State University Music Symposium, Manhattan, KS. This item was retrieved from the K-State Research Exchange (K-REx), the institutional repository of Kansas State University. K-REx is available at http://krex.ksu.edu How do you know what they know? How do you show what they know? Dr. Frederick Burrack It is my pleasure to share some music making with you. To tie into the topic of this session, consider that the performance you just heard was one of your high school students. Does this performance demonstrate musical knowledge, understanding, and aesthetic sensitivity? In my 25 years of music teaching, it has been my observation that America’s music programs have demonstrate outstanding student development of performance skills through presenting a variety of performance experiences. This statement may or may not accurately reflect the general music component of a school music program, but if it sufficiently prepares students for continuing in music beyond the general classes, it certainly is a part of it. Instruction in a typical music class often focuses the learning objectives on performance skill development and subjectively assessed by the instructor. -
Bbc/Equity Television Agreement 2015
BBC/EQUITY TELEVISION AGREEMENT 2015 Revised: 8th October 2015 1 CONTENTS PAGE CONTENTS PAGES 2 - 7 RECITALS 8 GENERAL TERMS 1. Scope, Enforceability and Application of Agreement 8 2. Definitions 8 3. Commencement, Duration and Termination 9 4. Equal Opportunities 9 5. Anti-Bullying and Harassment 9 6. BBC Child Protection Policy and Code of Conduct 10 7. Settlement of Disputes 10 8. Payment and VAT 10 9. Assignment 11 10. Alternative Arrangements or Amendments to this Agreement 11 11. Information for Equity’s Purposes 11 12. Casting Agreement 11 DEFINITIONS 12-18 PART ONE A. TERMS THAT APPLY TO SPECIFIC CATEGORIES OF ARTISTS Section 1 – Actors exercising dramatic skills, puppeteers, dancers and skaters (solo or group) and solo singers appearing in at least one act of an opera or musical 1.1 Weekly Engagement 1.1.1 Minimum Engagement Fee 19 1.1.2 Work Entitlement 19 1.1.2.1 Work Days 1.1.2.2 Hours of Work on Work Days 1.1.3 Additional Fees 20 1.1.3.1 Overtime 1.1.3.2 Supplementary Attendances 1.2 One Day Engagement 1.2.1 Minimum Engagement Fee, Work Entitlement and Overtime 22 1.2.2 Supplementary Attendances 23 1.2.3 Miscellaneous 23 1.3 Voice Only Performances 1.3.1 Minimum Engagement Fee, Work Entitlement and Overtime 24 1.3.2 Supplementary Attendances 24 1.3.3 Miscellaneous 24 Section 2 – Variety Acts 2.1 Minimum Engagement Fees 25 2 2.2 Work Entitlement 2.2.1 Work Days 26 2.2.2 Hours of work 26 On Location In the Studio 2.3 Additional Fees 2.3.1 Overtime 26 2.3.2 Supplementary Attendances 27 Section 3 – Stunt Co-ordinators and Performers 3.1 Minimum Engagement Fees 28 3.2 Work Entitlement 3.2.1 Work Days 28 3.2.2 Hours of Work 28 On Location In the Studio 3.3 Additional Fees 3.3.1 Overtime 29 3.3.2 Supplementary Attendances 29 3.4 Miscellaneous 30 Section 4 – Choreographers and Dancers required to assist choreographers 4.1 Minimum Engagement Fees and Work Entitlement (Work Days) 31 4.2 Work Entitlement (Hours of Work) 31 On Location In the Studio 4.3 Overtime 32 4.4 Miscellaneous 32 B. -
SL-1210MK7 / Direct Drive Turntable System (English)
SL-1210MK7 Direct Drive Turntable System Operating Instructions Music is borderless and timeless, touching people’s hearts across cultures and generations. Each day the discovery of a truly emotive experience from an unencountered sound awaits. Let us take you on your journey to rediscover music. Delivering the Ultimate Emotive Musical Experience to All At Technics we understand that the listening experience is not purely about technology but the magical and emotional relationship between people and music. We want people to experience music as it was originally intended and enable them to feel the emotional impact that enthuses and delights them. Through delivering this experience we want to support the development and enjoyment of the world’s many musical cultures. This is our philosophy. With a combination of our love of music and the vast high-end audio experience of the Technics team, we stand committed to building a brand that provides the ultimate emotive musical experience by music lovers, for music lovers. Director Michiko Ogawa 02 (02) English Introduction Table of contents Thank you for purchasing this product. Please read these instructions carefully before using this product, and save this manual for future use. Before use About descriptions in these operating instructions Before use - Pages to be referred to are indicated as Safety precautions ........................................04 “( 00)”. Accessories ...................................................07 - The illustrations shown may differ from your unit. Parts Name ...................................................08 Sales and Support Information Customer Communications Centre Getting started Getting started For customers within the UK: 0333 222 8777 Putting the player together ...........................09 For customers within Ireland: 01 447 5229 Monday–Friday 9:00 am – 5:00 pm, (Excluding Attaching the cartridge ...........................09 public holidays). -
2021-2024 Independent Theatre Agreement (ITA)
Independent Theatre Agreement 2021-2024 Material Terms Minimum fees for 2021 shall apply from May 31, 2021 to June 27, 2021 Minimum fees for 2021-2022 shall apply from June 28, 2021 to June 26, 2022 Minimum fees for 2022-2023 shall apply from June 27, 2022 to June 25, 2023 Minimum fees for 2023-2024 shall apply from June 26, 2023 to June 23, 2024 All minimum fees and other monetary amounts 2021 - 2024 are as specified in the 2021-2024 Independent Theatre Agreement Fee Booklet Independent Theatre Agreement Material Terms Table of Contents PREAMBLE 1 (A) Agreement ------------------------------------------------------------------------------------- 1 (B) Purpose ---------------------------------------------------------------------------------------- 1 (C) Equity ------------------------------------------------------------------------------------------- 1 1:00 RECOGNITION OF EQUITY AND THE APPLICATION OF THE AGREEMENT 1 2:00 COMMUNITY ENGAGED ACTIVITY 1 3:00 EQUITY MEMBERSHIP AND AUTHORIZATION 2 3:01 Equity Members in Good Standing ----------------------------------------------------- 2 3:02 Authorization ---------------------------------------------------------------------------------- 2 (A) Equity Member --------------------------------------------------------------------- 2 (B) Non-Member ------------------------------------------------------------------------ 2 3:03 Deductions ------------------------------------------------------------------------------------ 3 (A) Payment of Equity Dues --------------------------------------------------------- -
Professional Disc Jockey Products TT-100 DIRECT DRIVE TURNTABLE OWNER's MANUAL
Professional Disc Jockey Products TT-100 DIRECT DRIVE TURNTABLE OWNER’S MANUAL ©2000 Industries http://www.numark.com PRO TT-2 Turntable 8. Power Sources - This product should be connected to a Safety Information power supply only of the type described in these operating instructions, or as marked on the unit. 9. Power Cord Protection - Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed on or against them. When removing the cord from a power outlet be sure to remove it by holding the plug attachment and not by pulling on the cord. 10. Object and Liquid Entry - Take care that objects do not fall into and that liquids are not spilled into the inside of the mixer. 11. Cleaning – The appliance should be cleaned only as recommended by the manufacturer. 12. Non-use Periods – The power cord of the appliance should be unplugged from the outlet when left unused for long periods of time. 13. Damage Requiring Service - Only qualified personnel should service this product. If you have any questions about service please contact Numark at the number(s) shown on the back cover of this manual. 14. Grounding or Polarization - Precautions should be taken SAFETY INSTRUCTIONS so that the grounding or polarization means built into the 1. Read Instructions - All the safety and operating CD player is not defeated. instructions should be read before this product is 15. Internal/External Voltage Selectors - Internal or external connected and used. voltage selector switches, if any, should only be reset and 2. -
Written Evidence Submitted by Christian Castle
Written evidence submitted by Christian Castle November 16, 2020 Digital, Culture, Media and Sport Committee UK Parliament Inquiry on the Economics of Music Streaming Thank you for the opportunity to comment on the economics of music streaming. This comment addresses a number of questions raised by the Committee including a discussion of dominant business models, the impact of algorithms, long term effects of the dominant business models, alternate approaches and specific recommendations for the role I respectfully suggest that government could play in approaching the problem. I am a music lawyer in Austin, Texas and have been actively involved in the traditional music business as a musician and lawyer for many years at companies like A&M Records in Hollywood, Sony Music in New York, and in private practice. I have worked on these policy issues for the digital music business since its inception, which drew me to Silicon Valley in 1998 when I worked with clients such as the original Napster.1 My biography is available on our firm website.2 While I do not address the Committee’s question on piracy directly, I would respectfully say that the solid work of the European Parliament on the Directive on Copyright In the Digital Single Market should be supported in spirit and that the UK has the opportunity to lead the way in building upon that work to protect creators of all categories. For too long the various safe harbors available online have degenerated from well-meaning efforts at encouraging development of the Internet into mere alibis for what would otherwise be massive crimes. -
Reference Manual
REFERENCE MANUAL TABLE OF CONTENTS INTRODUCTION .................................................................................................................................1 BOX CONTENTS.................................................................................................................................1 REGISTRATION ..................................................................................................................................1 GROUND RULES ................................................................................................................................1 PLATTER ASSEMBLY........................................................................................................................2 SOFTWARE INSTALLATION .............................................................................................................3 CONNECTING THE NS7 ....................................................................................................................3 CONNECTION DIAGRAM ..................................................................................................................4 REAR PANEL OVERVIEW..................................................................................................................5 FRONT PANEL OVERVIEW ...............................................................................................................5 TOP PANEL OVERVIEW ....................................................................................................................6 MIXER -
COVID-19 Side Letter to the 2019-2022 Integrated Media Agreement for the 2020-2021 Season This Agreement Is Entered Into on a No
DocuSign Envelope ID: AF773762-13A1-4538-9377-9185BFECB55D COVID-19 Side Letter to the 2019-2022 Integrated Media Agreement for the 2020-2021 Season This agreement is entered into on a non-precedent setting basis between the American Federation of Musicians of the United States and Canada, AFL-CIO, CLC (“AFM”) and the Electronic Media Association (“EMA”) on behalf of each of its member Symphony, Opera or Ballet Orchestra Institutions (each of which is referred to herein as the “Employer”) this ___ day of August, 2020, and is intended to enhance flexibility for streaming of content when live performance has been adversely affected by the COVID-19 (Coronavirus) Pandemic. 1. Conditions Due to COVID-19. Government action has made it impossible for the Employer to hold regularly scheduled live performances with a full-capacity audience physically present. In this context the Employer plans to stream certain media content in order to maintain connection with patrons, donors and the community. 2. Compensation Tiers. Rights accorded to the Employer pursuant to this agreement are contingent on and will be determined by the Employer’s commitment to maintain compensation and benefits to musicians for the 2020-2021 season expressed as a percentage of compensation paid to musicians prior to the COVID-19 Pandemic, as set forth in the Media Tier Chart below. Percentage of pre-COVID wages will in each case be determined by reference to the following: a. Where some or all of the orchestra’s rostered musicians were guaranteed compensation on a season basis (whether paid on a salary or per service basis) pursuant to the Collective Bargaining Agreement in effect on March 1, 2020, compensation paid to every such musician for the 2020-2021 season must be equal to or greater than the applicable percentage of base scale wages (salary or per service) that would have been paid in the 2019-2020 season to that musician, but for any modification or interruption in compensation due to the COVID-19 pandemic.