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no but seriously

thats pretty fucken badass!

that is so awesome!

… it’s homework time. #shane

#shane (at Fantasyland)

at Tomorrowland

Happy early Birthday #shane !!!! (at Disneyland)

Pair of Detroit EDM Festivals Called Off

By | April 17, 2014 

Two new electronic music festivals scheduled for July 4th weekend in Detroit have been canceled for this year — but have already announced dates for 2015.

The Detroit Electronic Music Festival (DEMF) was slated to take place July 4-6 at the city’s Campus Martius Park as a free event, concurrent with the Federation of Electronic Music Technology (FEMT) at nearby Ford Field. The events were announced in November, but a new message on the festivals’ official website and Facebook page announced that they’ve been called off, partly due to construction of a new rail system in downtown Detroit and also because of “a number of exciting festival developments that require more time to ensure their proper presentation.”

Those who had purchased tickets to FEMT are being offered a refund or the opportunity to exchange them for tickets to the 2015 festival, which is scheduled for July 3-5. Ticket buyers are also asked to send organizers a message at the FEMT Facebook page to receive “a special gift from the festival out of our sincere appreciation for your special commitment to the successful launch of this incredible production…We look forward to dancing with you and the rest of the planet July 4th weekend 2015 in Detroit.”

FEMT had only announced a handful of acts, including Juan Atkins’ Cybotron and Model 500 projects and Detroit’s Underground Resistance, and nothing since the Nov. 20 launch. The festivals’ social media had been notably quiet during the past couple of months. DEMF and FEMT the brainchild of Carol Marvin, who launched the inaugural Detroit Electronic Music Festival (now known as Movement) in 2000. The Movement festival, now produced by Detroit’s Paxahau organization, will be taking place as usual on Memorial Day Weekend in the city’s Hart Plaza.

Hans Zimmer and Junkie XL Explore the Intersection of Electronic Music and Film Scores

By , Los Angeles | April 17, 2014 

Film composer Hans Zimmer and the electronic musician and film composer Junkie XL were well aware they were taking a meandering journey as they spoke about the evolution of electronic music as used in film scores during the International Music Summit on April 16.

Their stories connected dots between the innovative German bands Can and Kraftwerk and the scores of films such as “Inception” and “Amazing Spider-Man 3.” They spoke about the inspiration of scores for “Blade Runner,” “Midnight Express” and “Chariots of Fire.” They also got into the nitty gritty of modular synthesizers and various devices they have collected  — and never discarded — over the last 30-plus years.

“We’ve been Trojan horsing, pushing the orchestra to evolve and finding new ways to record,” Zimmer said at the gathering at the W Hotel in Hollywood. “Electronic music lends itself to an abstract way of storytelling, so it keeps evolving. There’s a whole movement truly driving music further and there is no other music innovating [as much as film music].”

This year, Junkie XL has scored “Divergent” and “300: Rise of an Empire,” played bass in Zimmer’s band for the score of “Amazing Spider-Man 3” and spent several months writing for “Mad Max: Fury Road,” a project he expects to last a full year. He learned by working with Zimmer and Harry Gregson-Williams from 2002 to 2005, diving in headfirst about three years ago.

“Film scoring is something you can do until you die,” he said. “The stress and the pressure [mounts] but the moments of joy — I have never felt so strong as I have in film. The lows, when you can’t deliver, those are new lows and I have never felt that low as when I was just Junkie XL, electronic artist.”

The NY Times Profiles Sneaker Reselling and Somebody Who Turned Down $98,000 for Signed Yeezy 2s

The NY Times recently published a piece documenting the growing rise of young footwear traders. In the era of hyper-inflated resale prices for sneakers, kids barely in their teens can be found at events trading and selling thousands of dollars worth of shoes. The article includes insights from older collectors who draw parallels between the boom in footwear trading and that of baseball cards in the ’90s. The piece also tells the story of one Jonathan Rodriguez, 18, from Deer Park, New York, who turned down $98,000 USD for a pair of Nike Air Yeezy 2 “Red Octobers” that he managed to get signed at one Kanye West’s recent concerts. See the whole article at the NY Times with selected quotes below.

“Reselling basketball sneakers has become a cultlike atmosphere,” said Marshal Cohen, chief industry analyst of the NPD Group. “No one is watching over all this money changing hands. So it seems like it’s being done underground, but it’s perfectly legal. And it’s exciting to them because it’s a real form of income.”

“I know I could buy a house with this kind of money,” said the vendor, Jonathan Rodriguez, 18, of Deer Park, N.Y., who said he planned to enlist in the Air Force. “But I’m a huge Kanye West fan. I can just work to get the money. The only way I’m selling them is if there is a reason that I need to sell or I’m offered life-changing money.”

Author: Staff
ONEtip: 5 Types of Managers You Don’t Want Managing Your Band



Choosing a manager will be one of the most important decisions you make as an artist. Who you let represent you to the outside world is a direct reflection of how you handle your business, and a great manager can do magical things for your career. More often than not, you come across the not-so-great managers that are slowly putting your band’s career in a dank, dark corner one email at a time. The wrong fit can quite literally sink you. Here’s some common manager archetypes we recommend steering clear from if you’re looking to grow a long and steady career in the music biz. 

#1 - The Too-Busy-To-Call-You-Back-Ager 

We know… they’re busy and ‘important’. Being a busy manager is usually a good thing, but not taking time to hear their artists’ needs, cater to them, and collaborate with them will often cause fractures in the relationship. Beware the chronically-busy manager. As the artist, you need to be able to reach your manager at any time for advice and late night strategizing. A constant dialogue is essential; after all, your manager is out on the industry front lines hustling for your career. When the manager is too busy to prioritize communication with the artist, it can lead to career decisions that the artist doesn’t support being made on their behalf.  More importantly: what other calls is the manager not keeping up with? Opportunities are likely being missed if the manager is too disorganized to see them. Sometimes this type of manager is closely related to the my-career-is-more-important-than-yours-ager… which I’m sure I don’t have to elaborate on.

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(Source: goforthegold)

#facts of #life