This is most interesting in both of provocative thinking in transference into the imagination..It appears in mental, to first strike the visual, then whilst the mind is correlating the visual, the audio begins and creates a some what confusion of thoughts. The thoughts being both familiar as in what is first thought of as a sound generation of a train.
But then, the visual becomes confused by the sight of the two animal friends observing the quietness of a jungle scene depicted by the beauty of the setting sun.
I like it, for it creates from a mindless void of the mind, to in this stead, the situation of creative thought, a wonderful tranformation...
Joined: Sept 2009 Gender: Male Posts: 3,102 Location: Stany Zjednoczone
Re: Electronic Music « Reply #219 on Apr 5, 2012, 6:57am »
The D.J. Deadmau5, a leader in electronic dance music, performing at the Roseland Ballroom in Midtown Manhattan.
Electronic Dance Concerts Turn Up Volume, Tempting Investors
By BEN SISARIO April 4, 2012
One Friday afternoon last month, 60,000 tickets at $100 and up went on sale for a major music festival at MetLife Stadium in East Rutherford, N.J., before the headliners had even been announced.
It sold out in three hours.
The festival with the fervent following was the Electric Daisy Carnival, a two-day event next month dedicated to the concert industry’s new favorite genre: electronic dance music. Long considered a marginal part of the music business that subsisted in clubs and semi-legal warehouse raves, dance has now moved squarely into the mainstream, with a growing circuit of festivals and profit margins that are attracting Wall Street.
For an industry increasingly reliant on aging headliners — like Bruce Springsteen, Madonna and the Rolling Stones — the appeal of a genre with fresh stars and a huge young audience is undeniable.
“If you’re 15 to 25 years old now, this is your rock ‘n’ roll,” said Michael Rapino, the chief executive of Live Nation Entertainment, the world’s largest concert promoter.
Two weeks ago, 165,000 fans went to the Ultra Music Festival in Miami to revel in the pulsating bass and wave glow sticks in the dark. Similar numbers have turned out for events in Los Angeles, Las Vegas and Dallas. With the boom, artist fees have exploded. Top D.J.’s like Deadmau5, Tiësto and Afrojack can earn well over $1 million for a festival appearance and $10 million for a Las Vegas nightclub residency, talent agents say.
Having developed on the margins, electronic dance music — high-energy waves of mechanized sound that, at its best, creates a communal experience for a sea of strangers — is dominated by a network of independent promoters.
They include Insomniac, which presents Electric Daisy Carnival; Hard Events, another nationwide promoter; Ultra, whose namesake festival in Miami has expanded to Brazil, Argentina and Poland; and Made Event, behind the Electric Zoo festival in New York.
Their success has attracted a clutch of potential investors from inside and outside the music world. The insiders include Live Nation and A.E.G. Live, the two biggest corporate promoters.
The outsiders include Ron Burkle, the supermarket magnate who made an unsuccessful bid last year for the Warner Music Group, and the media mogul Robert F. X. Sillerman, according to people involved in investment talks who declined to be identified discussing private agreements.
Mr. Sillerman — who transformed the concert industry in the 1990s by consolidating regional rock promoters into what is now Live Nation — declined to comment for this article, as did a representative of Mr. Burkle.
For new investors, getting into the dance business may not all be a party. Determining the value of the promoting companies is difficult, and there are particular risks whenever putting on a musical bacchanal for tens of thousands.
At the Electric Daisy Carnival in Los Angeles two years ago, a 15-year-old girl died of a drug overdose; at the same event in Dallas the next year, a 19-year-old man died and more than two dozen were hospitalized for drugs, alcohol and heat-related illnesses.
Pasquale Rotella, the chief executive of Insomniac, the company behind those raves, has also been implicated in a corruption scandal in Los Angeles. Last month, he and five others were indicted on charges related to the embezzlement of $2.5 million from the Los Angeles Memorial Coliseum. In a statement, his company maintained that the charges against him were “completely baseless and flat-out wrong, both on the law and on the facts.”
The investment talks may be only in the exploratory phase. But for a musical genre that not long ago was mostly associated with secret locations and drugs, it is a startling development, as are the amounts of money involved. According to the people involved in the talks, offers to buy the biggest promoters have ranged from about $20 million to $60 million.
“It feels like the dot-com era,” said Joel Zimmerman, an agent at William Morris Endeavor who books many of the top dance acts. “There’s a little bit of a gold rush going on, with outsiders looking in.”
Electronic dance music, or E.D.M. for short, has been common in one form or other for decades, but only in recent years has its audience become big enough to sustain large-scale touring. Last December, Swedish House Mafia became the first D.J. act to headline Madison Square Garden. (D.J.’s do not spin records so much as command computerized sound systems, playing snippets of songs and using them to create their own protracted rhythms.)
This summer acts like Avicii and Kaskade are touring in some of the same arenas and theaters where fans can see Coldplay and James Taylor.
While record sales for dance music are relatively low — even the biggest recent albums, like David Guetta’s “Nothing But the Beat,” rarely sell more than 300,000 copies — the sound has infiltrated pop radio through acts like Lady Gaga, Rihanna and Katy Perry. At the Grammy Awards in February, Skrillex won three prizes and Mr. Guetta and Deadmau5 (pronounced like “deadmouse”) jammed with the Foo Fighters, L’il Wayne and Chris Brown.
The big dance festivals have built themselves into valuable brands, able to sell tickets on their name alone and the immersive audio-visual spectacle they present. One big company could bring together a handful of promoters and find economies of scale.
“I have been approached by all the big boys you can imagine,” said Gary Richards, the founder of Hard Events. “I’ve been working in this for 20 years and nobody cared. Now it’s so massive that everybody wants a piece of it.”
Yet a marriage between D.J.’s and billionaire investors may be difficult. Live music is a risky and low-margin business for promoters. Pricing tickets too high or too low, for example, can sink an otherwise successful venture. Dance music also faces the perennial fad question: will its popularity stick this time or blow over as it did in the 1990s, when it was called electronica?
How much the promoters need, or even want, outside money is also unclear. Some say outside capital is necessary to expand to new markets, but others have built powerful organizations on their own. Adam Russakoff, Ultra’s director of business affairs, said his company was profitable, debt-free and has no outside investment. The company handles its own ticketing and makes licensing deals for its events overseas.
And then there is simple culture clash. Many dance music promoters and managers are suspicious of big money and the corporate ways of the mainstream concert business. In an interview, Mr. Rotella said he has been approached by many potential investors but was worried of what might become of immersive, multifaceted events like Electric Daisy.
“You don’t want this to turn into what the concert business is today,” he said, “where you just sell people tickets and they come to the show and sit in their seat. There’s not a lot of soul behind that. What we do is more of an experience.”
Mr. Richards agreed, saying that the big investors he spoke with did not understand the market.
“You can’t just franchise this like McDonald’s,” he said.
Re: Electronic Music « Reply #220 on Apr 11, 2012, 4:57pm »
Nictoe,
Interesting article. We are the rock 'n roll, soul, disco (Michael Jackson and Diana Ross), instrumental pop music (U2, the Police, Pink Floyd, Deep Purple, Led Zeppelin, the Rolling Stones, Roxy Music), Reggea, New Wave, Blues and Heavy metal generation. The present generation is the Dance, Dup Step, electronic music generation, like the article so rightly describes it.
Ofcourse electronic music is part of our lives too, but our musical taste (the first pop music we heard) wasn't based on electronic synthesizer music. It was based on a band with a guitar player, singer, bass player and a drummer, pop music. Kraftwerk, Jean Michel Jarre and House/techno came later.
Pieter. This generated some memories that I didn't foresee. The 1st one, I don't believe I've seen it before.
Full Metal Jacket sound tract is very familiar. I watch the movie often as it depicts my experiences more closely than others.
Full Metal Jacket was one of my favorite Vietnam war movies. It is good to hear that it is close to your experiances as a Marine in Nam. It is a tough but honest report about the experiances of United States Marines in Vietnam. I never forge the surfing board scene somehwere in the middle of the movie.
This is a rock song in the time of Nam:
And I don't know why, but if I think about Vietnam I think about Jimmy Hendrix music:
Joined: Sept 2009 Gender: Male Posts: 3,102 Location: Stany Zjednoczone
Re: Electronic Music « Reply #224 on Apr 16, 2012, 6:22am »
Kraftwerk’s avant-garde ideas have taken over much of mainstream pop. Above, the group performing the album “Autobahn.”
Man, Alive to Machine Possibilities
By JON PARELES
April 15, 2012
Last week Ralf Hütter, the singer and founder of the pioneering German electronic band Kraftwerk, recalled the first time the band came to New York City: in 1975, for an American tour to promote “Autobahn,” an unlikely hit sung in German and backed by electronics. The group members were carrying, he said, a few suitcases, some synthesizers in padded boxes they had built themselves and, for visuals, a slide projector.
Things have changed. For Retrospective 1 2 3 4 5 6 7 8 at the Museum of Modern Art — eight sold-out concerts that conclude Tuesday, with Kraftwerk playing through each of its eight studio albums from 1974 to 2003 — Kraftwerk deploys 3-D video projectors that send images leaping forward from the stage, along with a custom surround-sound installation including overhead speakers and a sleekly concealed wall of woofers at the front of the stage. (A multimedia exhibition at MoMA PS1 continues through May 14.)
Yet after three-and-a-half decades of tech upgrades Kraftwerk probably sounds less futuristic than it did on first exposure. That’s because Kraftwerk’s future became pop’s present. The group’s avant-garde ideas — making music inseparable from new technology, building songs from synthetic sounds and electronic rhythms, using repetition and robotic voices — have taken over much of mainstream pop. Its deadpan lyrics about transportation, media and ubiquitous technology are still tersely prescient. Back when it made its 1981 album “Computer World,” Kraftwerk didn’t own computers. “It was all done on analog sequencers,” Mr. Hütter said.
Kraftwerk, which bills itself as the Man-Machine, doesn’t show its human side very often. Through the years the band has largely shunned pop’s cult of personality. Onstage Kraftwerk’s four members perform standing behind mysterious matching consoles, their faces impassive. The band members call themselves operators, not musicians; one of them, Stefan Pfaffe, actually operates videos, not sounds, from his console. (Mr. Hütter said he provides vocals and keyboard lines onstage, while Henning Schmitz controls bass lines and equalization, and Fritz Hilpert controls rhythms and percussive sounds.)
Offstage Kraftwerk rarely participates in promotion and publicity. But every once in a while Mr. Hütter, the band’s sole remaining original member, grants an interview, as he did on Friday afternoon in an office at MoMA. He was accompanied and occasionally translated by the curator of the museum’s events, Klaus Biesenbach.
Mr. Hütter, 65, is trim and energetic; he’s a dedicated cyclist, regularly making 125-mile excursions. “You have to find your tempo,” he said. He was sometimes affable, sometimes wary. He bristled at the suggestion that Kraftwerk had pop ambitions, although songs like “Autobahn” and “The Model” were international hits.
“We are fine when the idea comes to a clear statement,” he said. “It could be short, it could be long. We also have structure that’s very minimal, so it’s not drama. It’s more modular, minimal. It’s components, it’s conceptual. There’s development, gradual. Whereas in classical music there is drama. That’s not our thing.”
Kraftwerk is usually translated as “power plant,” but Mr. Hütter said the band’s name can also be pulled apart for meanings: “kraft” is energy and dynamics, “werk” is simply work, or labor, and also (as “werke”) an artist’s oeuvre. Kraftwerk records on its own open-ended schedule; it hasn’t released a new studio album since “Tour de France” in 2003. It has, however, been touring and frequently revamping its older songs with newer technology and ideas.
“Kraftwerk is a living organism,” Mr. Hütter added. “Music is never finished. It starts again tomorrow. The record is just a record, but for us it’s nearly boring. We like better the programs that we can operate with. So we are operating, we are upgrading, we are updating continuously. There’s continuous reprogramming going on, and composition and new concepts are also coming.”
He added, “We learn from noise, and we learn from going to clubs.”
The work takes place at Kraftwerk’s longtime headquarters, Kling Klang Studios in Düsseldorf. It’s off limits to nearly everyone, with its location long concealed; mail is said to be returned unopened. “I was there,” Mr. Biesenbach said, quickly adding, “I’m not allowed to talk about it.”
Kraftwerk has extensive archives at Kling Klang: sounds stored on equipment that’s no longer made, images assembled over decades. When Kraftwerk played its 1978 song “Neon Lights” on Friday night, it had video showing neon signs from Düsseldorf that have long since disappeared to redevelopment.
At the museum Kraftwerk has been performing to an audience of 450 people each night. Its previous show, on March 23, was for tens of thousands as a headliner at the Ultra Music Festival of dance music in Miami.
By now Mr. Hütter is used to Kraftwerk being acknowledged as a prototype. Its riffs are foundations of songs by performers from the rapper Afrika Bambaataa to Coldplay. “We’re not so interested in possession. We are more interested in participating,” Mr. Hütter said. “We’re sending out. Certain of these ideas are radio waves. We’re the antenna catching information, the transmitter giving information, back and forth. It’s like feedback energy. Otherwise I would just play my music at home and go to sleep.”
The museum retrospective places Kraftwerk not only as a forerunner of synth-pop, techno, electro hip-hop and programmed R&B, but also as part of postwar German art reinventing a culture out of trauma and desolation. “Sometimes the spirit moves through different art forms,” Mr. Hütter said. Mr. Biesenbach ranks Kraftwerk alongside the filmmaker Rainer Werner Fassbinder and the painter, sculptor, performance artist and social activist Joseph Beuys, who was one of Kraftwerk’s mentors in Düsseldorf. Many of Kraftwerk’s most striking graphic images were painted by Emil Schult, a Beuys student who was also at times a band member and lyricist.
Mr. Hütter said Kraftwerk had come “full circle” by performing in an art museum. Its two founders, Mr. Hütter and Florian Schneider — who left the band in 2009 — played many of their first shows at art galleries and museums in Düsseldorf in the late 1960s.
They were starting from scratch in “a small town, a nowhereland, a cultural back room,” Mr. Hütter said. “The music had to be found. It was not there.” For him the lengthy Germanic classical tradition was “in print, it was in education and universities,” he said. “You could study it. It was all perfectly done and researched.”
But that felt like “archaeology,” he said. “One day you say: ‘I want to play my own music. What is my sound?’ And from this cultural shock — ‘Oh we have no language, we have no contemporary everyday music’ — the next step is ‘O.K., let’s start and let’s make it.’ ”
After three instrumental albums akin to other experimental German rock of the era, Kraftwerk reinvented itself with the coolly electronic 1974 album “Autobahn,” which began the retrospective. The reconceptualized Kraftwerk wanted music built on “repetition, routine and dynamics,” Mr. Hütter said. “We were interested in the social content of everyday life — Alltag,” Mr. Hütter said. The German word connotes both routine and “a day in the universe.”
The band abandoned rock-band instruments (and Mr. Schneider’s flute) for early synthesizers and self-invented electronic drums, embracing its sonic possibilities and limitations. “But we were maybe fantasizing about the future,” Mr. Hütter said. “In the archives there are some old visionary drawings where we envision notes coming out of the brain directly. We had all kinds of ideas, but it takes time to make them real. I’m not complaining. We’re been very lucky, especially for the technology developing as we were fantasizing.”
Mr. Hütter said a new Kraftwerk album was under way. “We didn’t fall asleep,” he said. “The 168-hour week is still going on since the beginning, since 1970.” And when can listeners expect the new album? “Soon,” he said. He would not elaborate.
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