Beatport Launches New Melodic House & Techno Genre Category
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Electro House 2015 Download Soundcloud
Electro house 2015 download soundcloud CLICK TO DOWNLOAD TZ Comment by Czerniak Maciek. Lala bon. TZ Comment by Czerniak Maciek. Yeaa sa pette. TZ. Users who like Kemal Coban Electro House Club Mix ; Users who reposted Kemal Coban Electro House Club Mix ; Playlists containing Kemal Coban Electro House Club Mix Electro House by EDM Joy. Part of @edmjoy. Worldwide. 5 Tracks. Followers. Stream Tracks and Playlists from Electro House @ EDM Joy on your desktop or mobile device. An icon used to represent a menu that can be toggled by interacting with this icon. Best EDM Remixes Of Popular Songs - New Electro & House Remix; New Electro & House Best Of EDM Mix; New Electro & House Music Dance Club Party Mix #5; New Dirty Party Electro House Bass Ibiza Dance Mix [ FREE DOWNLOAD -> Click "Buy" ] BASS BOOSTED CAR MUSIC MIX BEST EDM, BOUNCE, ELECTRO HOUSE. FREE tracks! PLEASE follow and i will continue to post songs:) ALL CREDIT GOES TO THE PRODUCERS OF THE SONG, THIS PAGE IS FOR PROMOTIONAL USE ONLY I WILL ONLY POST SONGS THAT ARE PUT UP FOR FREE. 11 Tracks. Followers. Stream Tracks and Playlists from Free Electro House on your desktop or mobile device. Listen to the best DJs and radio presenters in the world for free. Free Download Music & Free Electronic Dance Music Downloads and Free new EDM songs and tracks. Get free Electro, House, Trance, Dubstep, Mixtape downloads. Exclusive download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Click here to download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Maximise Network, Eric Clapman and GANGSTA-HOUSE on Soundcloud Follow +1 entry I've already followed Maximise Music, Repost Media, Maximise Network, Eric. -
SFX ENTERTAINMENT, INC., Et Al.,1 Debtor. Chapter 11 Case No. 16-10
Case 16-10238-MFW Doc 657 Filed 05/25/16 Page 1 of 8 UNITED STATES BANKRUPTCY COURT DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 (MFW) Debtor. Jointly Administered DECLARATION OF ADAM KEIL IN SUPPORT OF THE MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER: (I) AUTHORIZING THE SALE OF ALL OR SUBSTANTIALLY ALL OF THE ASSETS OF THE FAME HOUSE BUSINESS FREE AND CLEAR OF ALL LIENS, CLAIMS, ENCUMBRANCES AND INTERESTS; (II) APPROVING FINAL ASSET PURCHASE AGREEMENT; (III) AUTHORIZING THE ASSUMPTION AND ASSIGNMENT OR REJECTION OF CERTAIN EXECUTORY CONTRACTS AND UNEXPIRED LEASES; AND (IV) GRANTING RELATED RELIEF I, ADAM KEIL, hereby declare, under penalty of perjury, as follows: 1. I am a managing director of Moelis & Company, LLC (“Moelis”), where I have been employed for approximately 8 years. Prior to joining Moelis, I was a vice president in the Recapitalization and Restructuring Group at Jefferies & Company, Inc. I attended the Wharton School at the University of Pennsylvania, where I received a 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
Dancing Under Socialism: Ex-Yu Electronica | Norient.Com 25 Sep 2021 22:47:34
Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Dancing Under Socialism: Ex- Yu Electronica by Gregor Bulc In the last couple of years, various collections of electronic music from former Yugoslavia popped up, ranging from numerous downloadable CDR mixtapes to official compilation albums. The Croatian film critic and media connoisseur Željko Luketić presents his favorite songs and clips. The trend of officially published compilations of Yugoslav electronic music started arguably in 2010 when Subkulturni Azil from Maribor, Slovenia, released the Ex Yu Electronica Vol I: Hometaping in Self-Management vinyl on its Monofonika label, followed by the Vol II: Industrial Electro Bypasses in the North – In Memoriam Mario Marzidovšek, dedicated solely to Slovenian scene. Here are some of the artist featured on these two vinyls, whose creativity and innovation, as well as sheer volume of music production and distribution effort remain unmatched to this day. Electric Fish – Stvar V (Slovenia 1985) Andrei Grammatik – Poslanica Duholovcima (Macedonia/Serbia 1988) https://norient.com/blog/ex-yu-electronic-music Page 1 of 6 Dancing Under Socialism: Ex-Yu Electronica | norient.com 25 Sep 2021 22:47:34 Mario Marzidovšek aka Merzdow Shek – Suicide In America (Slovenia 1987) The Ex Yu Electronica Vol III contains the art duo Imitacija Života’s hard-to- come-across videos, followed by a rarefied industrial electro breakbeat cover of Bob Dylan’s classic from Jozo Oko Gospe: Imitacija Života – Instrumentator (Croatia 1989) Video -
French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music. -
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage. -
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
Infinite Setlist: Analyzing Pioneer DJ's Catalogue Streaming Partnerships
Cybaris® Volume 12 Issue 1 Article 2 2021 Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud Nicholas Rivera Follow this and additional works at: https://open.mitchellhamline.edu/cybaris Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Rivera, Nicholas (2021) "Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud," Cybaris®: Vol. 12 : Iss. 1 , Article 2. Available at: https://open.mitchellhamline.edu/cybaris/vol12/iss1/2 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law CYBARIS®, AN INTELLECTUAL PROPERTY LAW REVIEW INFINITE SETLIST: ANALYZING PIONEER DJ’S CATALOGUE STREAMING PARTNERSHIPS WITH BEATPORT AND SOUNDCLOUD Nicholas Rivera1 Table of Contents Introduction ................................................................................................................................... 36 The Story Thus Far ................................................................................................................... 38 The Rise of Streaming .............................................................................................................. 39 Brief History of DJing -
In the United States Bankruptcy Court for the District of Delaware
Case 16-10238-MFW Doc 10 Filed 02/01/16 Page 1 of 15 IN THE UNITED STATES BANKRUPTCY COURT FOR THE DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 ( ) Debtors. (Joint Administration Requested) MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER AUTHORIZING THE DEBTORS TO HONOR CERTAIN PREPETITION TICKET OBLIGATIONS TO CUSTOMERS AND TO OTHERWISE CONTINUE CERTAIN PREPETITION CUSTOMER PRACTICES IN THE ORDINARY COURSE OF BUSINESS The above-captioned debtors and debtors-in-possession (collectively, the “Debtors”) hereby move the Court (the “Motion”) pursuant to sections 105(a), 363, 507, 1107 and 1108 of title 11 of the United States Code, 11 U.S.C. §§ 101, et seq. (the “Bankruptcy Code”) and Rules 6003 and 6004(h) of the Federal Rules of Bankruptcy Procedure (the “Bankruptcy Rules”) for entry of an order authorizing, but not directing, the Debtors, in their sole discretion, to honor certain prepetition obligations to customers and to otherwise continue certain prepetition customer practices offered in the ordinary course of their prepetition operations. In support of this Motion, the Debtors respectfully state as follows: 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
Kanye West's Sonic [Hip Hop] Cosmopolitanism
÷ Chapter 7 Kanye West's Sonic [Hip Hop] Cosmopolitanism Regina N. Bradley On September 2, 2005, Kanye West appeared on an NBC benefit telecast for Hurricane Katrina victims. West, emotionally charged and going off script, blurted out, "George Bush doesn't care about black people." Early ill his rapping career and fi'esh off the critically acclaimed sophomore album Late Registration, West thrusts himself into the public eye--debatably either on accident or purposefully--as a ÷ scemingly budding cuhural-political pundit. For the audience, West's ÷ growing popularity and visibility as a rapper automatically translated his concerns into a statement on behalf of all African Americans. West, however, quickly shies away from being labeled a leader, disclaiming his outburst as a personal opinion. In retrospect, West states: "When I made my statement about Katrina, it was a social statement, an emo- tional statement, not a political one" (Scaggs, 2007). Nevertheless, his initial comments about the Bush administration's handling of Katrina positioned him both as a producer of black cultural expres- sion and as a mediator of said blackness. It is from this interstitial space that West continued to operate moving fbrward, using music-- and the occasional outburstÿto identify himself as transcending the expectations placed upon his blackness and masculinity. West utilizes music to tread the line between hip-hop ktentity poli- tics and his own convictions, blurring discourses through which race and gender are presented to a (inter)national audience, it is important to note that hip-hop serves doubly as an intervention of American capitalism and of black agency. -
Touch Me Satisfaction Electronica
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Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.