RELEASE DETAILS
Release title:
HARD IN THA EVIL PLACE *DONT LISTEN AT 3AM*
Main artist name:
KingPollo
Release date:
26th Apr, 2024
https://publme.lnk.to/HARDINTHAEVILPLACEDONTLISTENAT3AM
#newmusic #Release #Music #indepedent #artist #hiphop #trap

Bitcoin analysts agree that BTC has ‘a lot further to run’Key on-chain metrics suggest a higher baseline for Bitcoin price now that the halving is complete.

Washington D.C. Copyright Society to Host 'Labor Unions and Creators' Panel with AFM, SAG-AFTRA, WGA, moreJoin the Washington, D.C. Chapter of the COPYRIGHT SOCIETY for an evening hybrid program discussing how labor unions represent creators. 

When: May 6, 2024 at 6:00pm - 8:00pm EDT

Where: The George Washington Law School and Virtual

Panel One, 6 to 7 pm: will include three unions that represent creators — SAG-AFTRA, WGA East, AFM. The unions protect creators in many ways, from collective bargaining to lobbying and more, and this panel will discuss what the union does and the various ways that unions protect creators. The panel will include discussion about some of the lesser-known protections that these unions provide to creators that creator representatives should know. SAG-AFTRA and the AFM have established funds that distribute both collectively bargained and copyright revenue streams to creators.

Duncan Crabtree Ireland, SAG-AFTRA

Tino Gagliardi, AFM

Ann Burdick, WGA East

Dan Navarro, singer-songwriter, performer

Moderator: Ann Chaitovitz, Professor GWU

Panel Two, 7:10 to 8 pm: will include two of these funds — The AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund and the AFM Film Musicians Secondary Markets Fund. The panel will explain the Funds, what they do and the different income streams that they distribute. Both panels will include a creator to provide insight from a creator’s perspective.

Roxanne Castillo, FMSMF

Stefanie Taub, The AFM & SAG-AFTRA Fund

Dan Navarro, singer-songwriter, performer

Moderator: Ann Chaitovitz, Professor GWU

A small networking reception will be held after the second panel.

Please note, no MCLE credit will be offered for this program.

Agenda

5/06

5:30 pm - 6:00 pm EDT

In Person Check-In

5/06

6:00 pm - 7:00 pm EDT

Panel One

Panel One will include three unions that represent creators — SAG-AFTRA, WGA East, AFM. The unions protect creators in many ways, from collective bargaining to lobbying and more, and this panel will discuss what the union does and the various ways that unions protect creators. The panel will include discussion about some of the lesser-known protections that these unions provide to creators that creator representatives should know. SAG-AFTRA and the AFM have established funds that distribute both collectively bargained and copyright revenue streams to creators.

SPEAKERS:

Duncan Crabtree Ireland, SAG-AFTRA National Executive Director and Chief Negotiator

Tino Gagliardi, AFM Executive Officer,

Ann Burdick, WGA East General Counsel

MODERATOR:

Dan Navarro, singer-songwriter, performer

5/06

7:10 pm - 8:10 pm EDT

Panel Two

This second panel will include two of these funds — The AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund and the AFM Film Musicians Secondary Markets Fund. The panel will explain the Funds, what they do and the different income streams that they distribute. Both panels will include a creator to provide insight from a creator’s perspective.

SPEAKERS:

Roxanne Castillo, Film Musicians Secondary Market Fund General Counsel

Stefanie Taub, CEO of the The AFM & SAG-AFTRA Fund

MODERATOR:

Dan Navarro, singer-songwriter, performer

5/06

8:10 pm - 9:00 pm EDT

In Person Reception and Networking

Please join after the presentations for some light refreshments and networking.

More info at copyrightsociety.org

IBM moves deeper into hybrid cloud management with $6.4B HashiCorp acquisitionWith HashiCorp, Big Blue gets a set of cloud lifecycle management and security tools, and a company that is growing considerably faster than any of IBM’s other businesses.
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Milk & Honey now represents Travis Kelce and 80 other sports stars – but its world still ‘revolves around the songwriter’Lucas Keller talks Travis Kelce, Spotify, A&R, and where his company is headed
Source

More Mirrors (and a Little Audio) Mean More Laser PowerLasers are pretty much magic — it’s all done with mirrors. Not every laser, of course, but in the 1980s, the most common lasers in commercial applications were probably the helium-neon laser, which used a couple of mirrors on the end of a chamber filled with gas and a high-voltage discharge to produce a wonderful red-orange beam.
The trouble is, most of the optical power gets left in the tube, with only about 1% breaking free. Luckily, there are ways around this, as [Les Wright] demonstrates with this external passive cavity laser. The guts of the demo below come from [Les]’ earlier teardown of an 80s-era laser particle counter, a well-made instrument powered by a He-Ne laser that was still in fine fettle if a bit anemic in terms of optical power.
[Les] dives into the physics of the problem as well as the original patents from the particle counter manufacturer, which describe a “stabilized external passive cavity.” That’s a pretty fancy name for something remarkably simple: a third mirror mounted to a loudspeaker and placed in the output path of the He-Ne laser. When the speaker is driven by an audio frequency signal, the mirror moves in and out along the axis of the beam, creating a Doppler shift in the beam reflected back into the He-Ne laser and preventing it from interfering with the lasing in the active cavity. This forms a passive cavity that greatly increases the energy density of the beam compared to the bare He-Ne’s output.
The effect of the passive cavity is plain to see in the video. With the oscillator on, the beam in the passive cavity visibly brightens, and can be easily undone with just the slightest change to the optical path. We’d never have guessed something so simple could make such a difference, but there it is.

A new ‘music-only’ subscription tier is coming to Spotify, confirms Daniel Ek… and 4 other things we learned on the company’s latest earnings callSpotify is making good on its aim to become more than a music streaming service
Source

DIY Electronics Plus Woodworking Equal Custom Lamp
There is something about wooden crafts that when combined with electronics, have a mesmerizing effect on the visual senses. The Gesture Controlled DNA Wooden Desk Lamp by [Timber Rough] is a bit of both with a nice desk piece that’s well documented for anyone who wants to build their own.
Construction starts with a laser cutter being employed to add kerfs, such that the final strips can be bent along a frame tube to form the outer backbone of the DNA helix structure. Add to the mix some tung oil, carnauba wax, and some glue — along with skill and patience — and you get the distinct shape of sugar-phosphate backbone.
The electronics include an ESP8266 with the PAJ7620 gesture sensor that controls two WS2812B RGB LED Strips. The sensor in question is very capable, and comes with the ability to recognize nine human hand gestures along with proximity which makes it apt for this application. The sensor is mounted atop the structure with the LEDs twisting down the frame to the base where the ESP8266 is tucked away. Tiny glass bottles are painted with acrylic spray varnish and then glued to the LEDs to form the base pairs of the double helix. We thought that the varnish spray was a clever idea to make light diffusers that are quick and cheap for most DIYers.
We previously covered how this particular gesture sensor can be used to control much more than a lamp if you seek more ideas in that realm.

Sampling the sound of climate action with Madame Gandhi
Madame Gandhi discusses the process of creating samples using field recordings from Antartica, as well as the intersection between music and environmentalism.

Bang & Olufsen is selling a CD player for $55,000Bang & Olufsen has reissued a CD player originally launched to market in 1996 – with a hefty price tag of $55,000.
Though this might seem like an outlandish move, this isn’t the first time the Danish electronics giant has made a move like this. In 2020, it released the Beogram 4000c, but only 95 were made and set consumers back $11,000 each. The series originally came out in the 1970s, but the manufacturers tracked down 95 of the 4000 turntables that were made and refurbished and updated them to make them like new, even to the point where they came with a five-year warranty.

READ MORE: Review: Bang & Olufsen Beosound Stage soundbar 

It’s now done the same thing with the Beosystem 9000c, the second launch in the brand’s Recreated Classics series. The CD player famously revolutionised the appearance of CD players when it was first released, featuring a tower of six CDs facing listeners viewable within a glass and aluminium housing. In a move that was also remarkably ahead of its time, users were also able to create playlists between the six discs.
“It is actually one of those launches that just set a direction for B&O, and one of those super innovative, very radically different things that creates elements of history,” Mads Kogsgaard Hansen, Bang & Olufsen’s Head of Product Circularity, tells Fast Company. “It is still perceived as one of our most innovative and iconic designs.”
Although CDs made up only three per cent of the music industry’s revenue in 2022 – a drastic drop from 92 per cent 20 years earlier – the format is slowly making a resurgence fuelled by Gen Z’s interest in physical formats. The Recreated Classics was created with this in mind, with the brand purportedly finding plenty of inspiration from the past when it came to working out what can make a product timeless.
Bang and Olufsen 9000 CD player. Credit: Bang
Hansen says in a press release that the refurbished CD player was created in recognition of that trend. “More than showcasing our commitment to product longevity, we wanted to celebrate the revival of physical media that has taken place in recent years. Vinyls and CDs have returned to being something special, where people invest time and energy to connect with the music and artists they love. Longevity in design and the passion for music listening are essentially what we are celebrating with the launch of Beosystem 9000c. It is all about keeping listening choices alive”.
“We can actually show that we can manage to connect our past with our present and the most modern technology today,” continues Hansen. “What we really want to do … is to lead and inspire an entire movement for the industry to design more circular and more long-lasting products for the future. Because if we just keep doing it in the same way as we do right now, then we will risk not having an industry.”
Regarding the price point, he says: “We want to really move more and more into the luxury segment of the market – that’s where we see our future. The inventory was sourced from stores and auction houses before being brought back to the factory in Strauer, Denmark, where they were originally made. More than 90 per cent of the original parts form part of the new model.
In addition, the CD player is compatible with Beolab 28s speakers, which feature a high-spec design with Natural Aluminium lamellas on the speakers with a Cosmic Black aluminium base.
“I can’t help thinking about the whole idea of keeping choices alive, right? I really love that,” he continues. “We sometimes have a lot more of a slow-culture approach to the things that we do, and celebrate some of the more analog elements in a world that is increasingly high speed. I wouldn’t be surprised if you see us explore further on both vinyl and CD, but also maybe even consider other music formats, to sort of make the complete lineup. Who knows?”
The post Bang & Olufsen is selling a CD player for $55,000 appeared first on MusicTech.

Bifurcation Theory: How the music business is splitting in two [Mark Mulligan]Mark Mulligan of MIDiA Research writes that the music industry is splitting in two, and AI is acting as the accelerant......
The post Bifurcation Theory: How the music business is splitting in two [Mark Mulligan] appeared first on Hypebot.

What to get on a Spotify playlist? Add these 4 things to your pitchWant to be in the next Coffee House mix? Or in the next Best of Indie mix? Here are some important tips you need to know if they want to get music on official Spotify playlists.....
The post What to get on a Spotify playlist? Add these 4 things to your pitch appeared first on Hypebot.

The Guess Who can no longer perform hit songs that made the band famousLeni Demancari of Ten13 Entertainment joins Michael Brandvold and Jay Gilbert on the Music Biz Weekly podcast to discuss the story of the Guess Who and one of the more bizarre and consequential music industry battles we've seen in a long time.....
The post The Guess Who can no longer perform hit songs that made the band famous appeared first on Hypebot.

“I’d love to sit with Rick, chew the cud and push him on his opinions”: Jacob Collier wants to have an in-depth discussion with Rick Rubin on the nature of good artRick Rubin might have made his name as a prolific producer, helping to push ’90s hip hop and nu metal into the spotlight, but in recent years he’s become something of a self-styled creativity guru. While he’s still producing albums, he also published a rather chunky book, The Creative Act: A Way of Being, last year.
However, British multi-instrumentalist and producer Jacob Collier has had a thing or two to say recently about Rubin’s beliefs, even suggesting that “his audience is non-creative people for whom creativity is novel”.

READ MORE: Setting a goal “could be a limitation” in music creation, Rick Rubin says 

He has also previously said that he  disagrees with Rubin’s philosophy of “the audience comes last”, saying that he finds that approach concerning. “There’s no one way to do anything – you can make work for people; you can make work for an audience; you can conform to the algorithm; you can make an engaging thumbnail. That’s cool.”
Indeed, Collier has even suggested Rubin is “hypocritical” for saying something only counts as pure art if it’s made for oneself.  “I don’t trust him, because he started his career making this commercial music, which is beautiful and we all love it, and it’s amazing.”
And Collier says in the same episode of the Colin and Samir podcast – entitled We interviewed the Mozart of Gen Z – that he’s more than happy to talk things out with the Def Jam founder and bat ideas back and forth.

“I’m excited about this idea of a question culture rather than an answer culture,” he reasons after explaining why he dislikes that Rubin presented his ideas like they are a definitive answer. I look at Rick and I’m like ‘Has anyone ever debated him on this stuff?’ There are ways of approaching creativity, as someone who solves a lot of problems myself, I’m not the ultimate angle. I’m me, I’m Jacob, I see the world the way I see it.
“I’d love to sit with Rick at some point and just talk to him and chew the cud and push him,” he continues. “[I’d] also welcome to be pushed because all of us need to be examined. Our opinions need to be squeezed and broken and I just think that anyone sitting there and saying ‘This is the wrong way to do it’, like Rick saying art is only pure if it’s made for art’s sake. Absolutely false. You can make totally pure art any way you want, including reaching a ton of people for that purpose. It’s okay to be ambitious. It’s okay to want to reach people and move people.”
The post “I’d love to sit with Rick, chew the cud and push him on his opinions”: Jacob Collier wants to have an in-depth discussion with Rick Rubin on the nature of good art appeared first on MusicTech.

Grimes’ second Coachella set was fine — but she has the potential for so much moreGrimes was feeling “a lot better” after her Coachella Weekend 2 DJ set.
As pretty much everyone in the world knows, her DJ set during Weekend 1 didn’t go to plan. The tech-obsessed singer/songwriter/DJ stopped the music multiple times with more than a handful of frustrated yells. The major issue was apparently misanalysed track tempos in Rekordbox.
“I’ve outsourced essential things like rekordbox bpm’s and letting someone else organize the tracks on the sd card etc.” she wrote in a tweet, apologising for the technical issues after the first performance. “The cdjs were showing me bpms like 370 so I couldn’t even mix manually by ear and the front monitors were off so it was literally sonic chaos on my end trying to guess how stuff was sounding for u guys.[sic]”

I want to apologize for the technical issues with the show tonight. I wanted to come back rly strong and usually I always handle every aspect of my show myself – to save time this was one of the first times I've outsourced essential things like rekordbox bpm's and letting…
— 𝖦𝗋𝗂𝗆𝖾𝗌 (@Grimezsz) April 14, 2024

For the second weekend, Grimes fixed the BPMs. There were no abrupt sound cuts and the visuals perfectly aligned with the music as she mixed her tracks, such as We Appreciate Power and IDORU. Every time she got on the mic, she expressed excitement more than anything.
The set went without issue…well, technical issues, at least.
But there was a bigger problem lurking between the perfectly timed transitions (which attendees speculated to be pre-recorded this time around).
Grimes settled for being just another big-stage DJ instead of creating something unique and special for Coachella.
Her set was basically a parallel of Anyma, who also played at Sahara on Sunday. It was so alike to the point that Grimes sang their collaboration track, Welcome To The Opera, with him during Weekend 1.

For the past few years, Anyma and his duo project, Tale of Us (who performed at Sahara at Coachella last year) have become immensely popular, thanks to their dramatic visuals that match their emotive melodic techno. Anyma essentially brings stadium-quality graphics to a DJ set. They’re also character-driven, with an I, Robot-style automaton as the central figure that connects all the different shows.
Because Anyma makes DJ-centric music and has always toured as a DJ, making these grandiose sets pushes the boundaries of his craft. His visuals set him apart.
But where Grimes should have curated a performance that set her apart from other Coachella performances, she just did the same thing as Anyma. Instead of a robot, the fairy-esque character who represents her in all her album artwork swirled through different, colourful, and technological environments and scenarios against mostly four-on-the-floor music. This is barely different from all the other big DJs who played Sahara, like Steve Angello, John Summit, and Dom Dolla.
Every artist is allowed to perform how they want. If Grimes wants to be a DJ, she should be a DJ.
But, frankly, she has the potential to do something far more unique.
Grimes’ music, while heavily electronic, is not strictly club music. On early hits such as Genesis and Oblivion, she gracefully dances a tightrope between pop punk and electro dance. The Canadian artist’s newest music isn’t just club music either. Her latest release Geidi Primes (Nightcore Edition) is an intriguing alternative rework of her 2010 album, Geidi Primes. Her latest official album, Miss Anthropocene, does have some pure dance music, like the drum & bass track 4ÆM, but she also touches on tech-tinged country music on Delete Forever.
She’s turned so many heads with her unique sound and has been a proud advocate for innovative technology; it’s permeated everything about her persona, down to her children’s names (X Æ A-Xii) and her performances.
Her 2012 performance on KEXP (which has over 4 million views on YouTube) sees her sitting on the floor manipulating synths and drum machines. At Glastonbury in 2016, she was singing and performing with hardware, accompanied by onstage dancers.

Her music and past performances demonstrate her exceptional creativity, and Coachella is the place for exceptionally creative performances. She even said in her apology tweet that she “wanted to come back rly strong.[sic]”
You can only come back so strong with a DJ set at Sahara. No matter what the visuals look like. It will just be one set among many.
Grimes had the chance to create a technical mastery, something people will talk about for years to come. People will be talking about her Coachella set for years to come, just not in the way she’d like.
The post Grimes’ second Coachella set was fine — but she has the potential for so much more appeared first on MusicTech.