InPrimo Moroni allowed the punks to self- Vague graphic artists is the situationist Jamie Reid, who is also the designer of manage an internal room in the Calusca bookstore, in order to autonomously the Sex Pistols. Even Lee Felsenstein, mentioned in Cyberpunk. Antologia di testi politici as he who "elaborated the technological concept of cyberpunk", in reality underlines So we started working in the bookstore, during a period when the s experience was that he does not remember having used cyberpunk with this meaning.
Surely ending badly …. But for us the Calusca was so special that we only saw the beauty which Lee Felsenstein was a key figure for an utopian vision of technology and hacking, remained within the movement: the great quantity of magazine and books by Communists, but he never identified with a real political digital underground movement; Anarchists, Libertarians, Heretics, genial types, criminals, crazy people, drug addicts, gays, which is instead a totally Italian phenomenon At the end of those two yearsPrimo proposes, to our small group of already "contaminated" punks, to continue with the editing In Italy, Cyberpunk collects all of the libertarian utopias and the radical of the "Calusca Newletter", a magazine capable of representing the very diverse components traditions of the preceding years, giving life to a unique current in its genre for of the bookstore "Decoder",p.
In our country the punk tradition is met with that of Do It Yourself, so the need to create liberated spaces: new open technological And further, regarding the changing of the cultural panorama at the end of the possibilities; the attitude to share and to create networks; Cyberpunk and s in Italy, following the diffusion of computer technology, he continues: Hacktivism, as we intend it today, converge all in a particular ethic. Cyberpunk entered in our country in a "porous" way, assimilating within it needs and The "end of the movement" seemed to correspond with the end of an era in the field imaginings that already smouldered for many years and taking a totally unique of production.
Information was becoming valuable merchandise and the technological direction, which have then contributed to giving a strong identity to our hacker hammer drill was about to take off.
In a few years, especially in Milan, everything seemed movement, very different than that in the rest of Europe or North America, to be transformed. A sort of deep-rooted uneasiness, that certain "modernity" theorists indicated was a result of a typical acceleration of our era, was therefore alleviated, and was to which does not have specifically political connotations, except for isolated be taken on with coolness and a sense of adventure, in order to not be overwhelmed by it.
Antologia di testi politici includes different texts from trying to transform oneself in order to not passively succumb to the transformation. At that different characters and groups, creating a panorama that goes from Cyberpunk point we understood that the game was to be played and the editorial group decided to literature to psychedelic cyber to the cyber applications to the techno-anarchical create its own magazine: Decoder ivi, p.
Not all the reproduced texts are openly ascribable our country during the s that has involved many individuals and groups. This line of conjunction between punk and cyberpunk, seen as an opposition movement, is found clearly delineated in Mela al Cianuro, a text written by Raf "Valvola". I chose the following passage from the book: Amateur Computer Networks Today it appears essential to conduct a battle for the right to information, through the In Italy, the Cyberpunk background described earlier has taken shape in an construction of alternative networks which are evermore branched out.
This is a battle than active network with the goal of guaranteeing certain rights the so-called cyber- can be won, if one keeps in mind that the same capital cannot stop, for reasons of political rights to the individual, in order to promote a conscious use of technology and opportunity, an intrinsic economic movement to its same progress. The computer is an free circulation of data. Between and the idea of using computer instrument, which is potentially extremely democratic; the important thing is to acquire technology to create horizontal network relationships between individuals a consciousness at the collective level.
Adding to this, Cyberpunk literature seems to be a great Trojan horse, good to interest those contiguous sectors, still not involved today, was actively supported, with the goal of allowing a free and uncontrollable which gravitate to the furthest orbits of the movements.
Today, through Cyberpunk, the communicative flow Allowing too the possibility of creating connections opportunity is offered to all the cultural operators of the movement, to pen a new, enormous between network islands, i. We must collectively take it backpp. In Hakim Bey writes: This is where the "Cyberpunk Legend" is born, which in Italy inspired I believe that by extrapolating the stories of the past and of the future with regards to the hackers, artists, intellectuals, creative minds, and young people with a passion "Islands in the Net" we could collect proof to suggest that a certain type of "free enclave" for computers who recognized themselves in that vision of the world.
Through is not only possible in our times, but is also existent. Despite the synthesizing force which it exerts on my thoughts, I do actions are diffused. It is thought that through the digital and the critical use of not want however that TAZ be taken as anything but an essay an attempta suggestion, technology it is possible to expand the concept of democracy and freedom in a almost a poetic fantasy. Despite the initial enthusiasm of a preacher, I am not trying to construct a political dogma.
In fact I deliberately avoided defining TAZ: I go around the new frank territory which still needs to be explored. The Decoder experience topic shooting off exploratory rays.
At the end TAZ is almost explained by itself. If the makes us understand how the concept of DIY was fundamental for affirming phase were to be commonly used it would be understood without difficulty…even in action certain practices which today hope to give a critical sense to the use of the web,pp.
But it was in that Ward Christensen which to share and diffuse knowledge; a metaphor in the neural networks in and Randy Suess created the first BBS, Bulletin Board System, called CBBS at which information travels according to the reticular, rhizomatic dynamics.
Cyberspace is imagined as a place in which one can act in a global space, but Most of the time the term BBS was translated into Italian as "bacheca it is not for this reason that it is an informative one: the individual can feel elettronica": in fact it was based on the exchange of messages sent via modem part of a world community, without ever having to renounce his individual and computer by several different users, in the spheres of different thematic areas informative needs.
The term glocalism connotes the first utopian phase of on- of discussion. Through the many virtual communities it is possible to The computers of an amateur network were connected through telephone experiment with new associations and at the same time act in a trans-national lines via modem and went on to form the "hubs" of the network of many BBSes universe of data and information bringing inside it its individual and "local" which, in turn, were connected.
The messages circulated through the network experiences. At the end of the s, the Internet network, as we know it today, was called Arpanet, and in reality it was the Every computer which is used as a BBS is predisposed to answer the calls coming in, in an automatic way: at every node in the network various users connect in order to take the privilege of only a select few, such as university and research centres.
The first messages that pertain to them. Contextually to the collection, messages are posted on the computers available were the mainframes, too big and costly for average use, "bulletin board": both private messages electronic mail destined particularly to a particular which instead get closer to computer science at the end of the s with Apple user and public messages readable by all the participants of the collective discussion group.
In ivi, p. InTom Roberts in New Mexico and sold in pieces, to be assembled. The "Popular Electronics" magazine, in FidoNet Network would be diffused in all directions, measuring up to hubs In Chicago, at the end of the s Ward Christensen created the free at the beginning of He social telematics base, and that which then would become the culture of the acts in the interstice of different disciplines, applying the logic of problem solving electronic bulletin boards" Gubitosa, He ironically calls them products of the "World Power Systems", remembering the period of birth George, passionate about computer technology, had written a program to transform his of much of the Web and Technology Culture and reproducing at that time the centre of computer services into a BBS during nighttime hours, taking advantage of some of the commutated lines that remained unused at night.
When FidoNet was about contradictions that existed from the Cold War to today. Surveillance and control culture did the same thing: The first FidoNet hub does not have anything directly to do with the Italian the world, economic conflict, the loss of anonymity, medical and insurance redlining.
Technology is not something which is isolated, which happened in factories, it is an In order to reconstruct the history of the underground digital network in Italy integral part of our Western culture, no longer removed from the daily life of clothes and a series of complex factors that took root in the political movements of the s language; it presents the same ambivalences and tensions between merchandise and culture must be considered.
Tom Jennings had a past described in the preceding chapter: as a punk and had come out as a homosexual, he was therefore used to going beyond the predictable and seeing things in their multiple perspectives.
Only a In the second half of the s and in the s in Italy we see the birth of two forms of bright mind could give life to that which was one of the main inputs of the net distinct social protests, with continuous exchanges and comparisons.
The first is identifiable culture, that which saw the BBS as his launching pad. The second can be identified with the punk movement and around it a network of fanzines and self-managed alternative spaces. It is in individual and collective artistic and Larry Brilliant. An environment for a "declaredly uninhibited, intelligent practices connected with the practices on the street graffiti art and otherof social and and iconoclastic" discussion the WELL which collects intellectuals, artists, non profit protests and in the mail art sector where the concept of "Networking" is programmers, journalists, teachers, activists, and all those who wanted to freely developed.
This second area finds its battleground in the counter-cultural, musical, artistic express their ideas. Here Howard Rheingold coined the term virtual community sectors, and in the new experimentation of the new languages of communication. InWELL was is around both "zones" that the first forms of social use of media technology are tested, the purchased by Salon.
It was in the midst of this scene that the foundations of hacker social components are much more complex and differentiated, the history of the digital networking in Italy essentially correspond to the history of the two Italian radical networks: ethics were diffused. Although other networks exist InFidoNet arrived in Italy and Giorgio Rutigliano launched the first alongside these, for example, Peacelink and other cultural movements.
Internationally Jeff Rush created Echomail, a mail programme that allowed the creation of areas of collective discussion from the circulating messages in FidoNet. After a few months other hubs are added, which, a proposal of the Danish group TV Stop, who in proposed the idea of within a couple of years, reach about forty BBS within the CyberNet network creating a European, countercultural digital network.
This autonomous network offered open gateways to all the networks that asked for it The proposal had other groups as contacts in France, England Class WarGermany and was presented like a transversal zone in several networks P-Net, FreakNet, the Autonomen, some groups of occupants of the houses of Hamburg and Berlin, Radio E.
Great diligence in this "transverse" direction is shown in the actions Coordinamento Nazionale Antinucleare e Antimperialista. In the international meetings of the E. This is how the E. N network was created in Italy. Zero BBS was created goal of the civil and legal defence of immigrants. Torino Di Corinto, Tozzi,p. In those years, Bologna, Rome and Milan. In the meantime, inside the FidoNet network, in between FreakNet and the historical anti-mafia magazine I Siciliani created by we see the creation of an area of messages called Cyberpunk.
Inside this Giuseppe Fava a spontaneous collaboration occurred, making the magazine the area, a new vision of understanding telematics begins to be proposed. This last one, managed by Giovanni by some internal realities in the Cyberpunk arena as a form of tutelage for Pugliese, was created in as a BBS inside FidoNet and would then become individual freedom Even this is on the cusp of absurdity, since the justification was the systems".
The reason for this is "a quote from a literary piece completely ignoring what was actually happening on the amateur BBS networks. A large published in a nationally distributed magazine, which can be purchased in all part of the material seized would lie for many years in the Guardia di Finanza [Revenue Guard Corps] warehouse, without ever being examined Gubitosa,p.
Many of these cases are approximately during the FidoNet era. Predictably, the investigation found on the Sotto Accusa website, which is an archive managed by the Isole failed, demonstrating that FidoNet was not used for exchanging pirated nella Rete listing censure cases and attempts to limit the freedom of expression software.
The information found in the Giorgio Rutigliano, of Fido Potenza, resigned with a letter to Oscar Luigi archive is circulated in order to evaluate it on the cyber-rights ecn. Founded and managed by Ferry Byte, this mailing list an important point of work to make computer technology a shareable, public commodity. On June 3,the victim In time, the answer of the Italian BBS networks to this type of censure took of another inquiry, the Central Hub of the PeaceLink network, a network shape with a series of collective initiatives at the local and national levels to association for the promotion of peace, had its property seized by the Taranto increase awareness surrounding the questions of digital rights such as privacy, Guardia di Finanza [Revenue Guard Corps], accused of selling copyright anonymity, computer technology literacy, digital divide, etc.
One of the first and protected programs. From here, a network of solidarity and support for surely the most indicative at the national level in the period of birth of the BBS PeaceLink was formed, fighting to "give voice to those who have no voice", until and consequently at the Italian Crackdown, was the Diritto alla comunicazione the full acquittal six years later of Giorgio Rutigliano, the PeaceLink network nello scenario di fine millennio, event organized by the Strano Network group in manager.
The convention, whose proceedings were published in the book Nubi The account of censure in Italy does not end here. It seems that the videophones of today are more powerful. We were used to the horrendous Sony operators which they mounted with control L cables and with an avalanche of large boxes to process the creatively filmed uizzi. The computers were kept open with many Italian artists and activists at the beginning of the s.
Its description fans close to them in order to avoid the notorious thermic calibration. In this state of a allows us to add a new link in the panorama of Italian networking, connecting hardware crisis, which even included audio equipment midi files instead of non compressed the "alternative" use of technology and computers with the musical and visual.
Mariano Equizzi, an our guerrilla style Inspired by authors such as William S. Ballard The cinematographic vision of Mariano Equizzi is unique because, even if it was and Philip K. Dick, Equizzi transfers the settings of many Beat Generation and shaped in Italy in the same period of diffusion of many "subversive" Cyberpunk Science Fiction books into his works.
He has directed several short films which instances, initially it does not have direct contacts with the experiences of have now become Italian independent cult works such as SyrenaAgentZ the more politicized Italian creative and artistic realities Burroughs : Nothing is real, everything is allowed A Cinematografia of Rome in It was here that he worked on the production mosaic of dead and new media, our favourite mix.
This time it was the Industrial musical scene that influenced many other artists and creative individuals who were For me, Cyberpunk was a system of observing reality, of decoding the ways and active in Italy from the s to the s To describe this other fantastical possibilities of implementation, independent of the possibilities and of the instruments.
Cyberpunk created an alibi for us; making the error, the corrupted media, a matrix of crashed transmission, the subject, or one of the subjects, of narration.
The lack of Industrial in the proper sense only touched us. It was created inand Luca and I materials from the time of the analogical video, too deep for our pockets, stimulated us in were born in andtherefore we missed out on this tsunami wave, but personally this sense.
My love for garage, work shops and industrial material stores, says a lot about the we assimilated it subconsciously in its extreme tendency to provoke and to put in artistic productive modalities which I still follow today.
Bigazzi has a wall of old vintage synth and discussion, with ferocious liberty, even the worst of humans; something which Punk did not Luca has 16mm camera used by the Chinese during the Mao era The Canon Scoopic. The do "too much" of, limiting itself in its more political expressions to take one part instead of use of all types media, for example, from old video cameras to tubes, to video surveillance another Instead the Industrial movement shattered everything and that was it, in a process systems, up until the cutting edge of digital, without forgetting the Super 8 is the result of of "exaltation".
We have been swimming in this "abyss" ever since we started the Revenge project, with the approval of foreign operators, especially Western noise-ofiles. And I am postulating Anime 28 on the basis of this derivation In particular, the scenes of the short film Syrena, according to many is a towards artistic incivility. I definitely believe that this exploration of the more eroded layers milestone of Italian independent videos.
They were created by recycling pieces Burriani? As Mariano fields of media. The tendencies of glitch music and sound-scape, and also of ritual and Equizzi narrates, dark ambient27 are moments of organized technological derivation that I believe should be coordinated even with the American New Horror of thewhich has made a "great" using only Premiere 2.
Works of art that eroded, granulated, worn out still today, according to many, is unsurpassed in its complexity, originality, a low budget. The indie work that consecrated us is still Ginevra Reportwhich we produced paranoia and curious hypotheses. It was dedicated to one of our heroes: James G. Ballard, the cantor of and its shadows. We are in the shadows of that event and we construct images and sounds internal space a very anomalous and venerated Sci-Fi-writer.
Once again we had applied carved out from our conscience surrounded by complex technological sedimentations which an "absurd" productive system; we had sent the webcam with the drivers and Shareware appear, as they flow, like burnt plastic. The nomadic spirit stays strong with her, with an impulsive trip to New Orleans on the cards, and her past history of running away with the circus. My ambition is to increase awareness, enlighten, empower people and invoke a positive future for Africa with the rest of the world.
My music is a result of all of this; rooted in the blues, mixing African traditions with striking modernity and technical mastery. They continue to show a willingness to tackle difficult subject matter with grace and poise. Only You, an intoxicating fall into luscious synth arrangements and furiously catchy vocal samples, shows a band hurtling full speed towards mainstream success. Dark undertones and words filled with passion and trouble rule his creative style with every note being connected to a moment in time that has passed.
He wants to make you feel what he has felt, and with soaring falsetto lines, simple yet intricate guitar licks and raw intensity he brings those feelings back to life in the short time-span a song gives. Exposed to the writings of Behan, Yeats and Wilde with a soundtrack of Dylan, Buckley and The Dublinershis formative years were inspired by the storytelling and character creations of his grandfather. Later he took the boat over the water and gathered tales and tunes of his own, learning his craft and to express his love of language.
Live, she plays as a two piece alongside Derry composer and electronic musician Ryan Vail. His poetry videos have amassed over 2.
His poetry is included on the syllabus at Western Connecticut State University and his work has been translated into multiple languages. Colliersynth collective Marble Empireand downtempo songwriter Alexander Carson. Collier is known for using a multi-instrument technical setup to enable her to perform her song-focused, high-energy studio productions in a live setting. Performing on stage together with a live percussionist and interactive visuals, Collier has built and refined her live show throughout including sold-out shows at KOKO, Camden and 93 Feet East, headlining the Beats For Love Festival in the Czech Republic and participating in the Ableton Loop event in Berlin.
Composing through improvisation, personal recording, live vocal sampling, bass looping, special percussion and piano skills, Roscius creates a unique and absorbing soundscape, genuinely innovative and emotional; a mixture of acoustic and intelligent dance music, organic techno and ethnic deep house. Her music is hard to box up, as she has dabbled in dance music but her ambient piano-based approach can nod towards the likes of Steppin It Up - Dynamo Productions - Analogue (CD and Rae Morris.
For five years, acoustic music promoters Woodburner have been regularly hosting a summertime session in the Dalston Eastern Curve Garden.
All blurb is from Woodburner and the artists themselves; all inevitable judicious and finicky edits are mine. If you sometimes tire of the art-rock cubbyholes, peculiar modern classical or experimental sounds covered in here, or just find the entire damn blog too white I feel that way sometimes myselfsome of these gigs might appeal to you a little more. He is an energetic music performer and excellent music writer who has performed at some of the world most respected festivals, earned several awards including the prestigious Malawi Special Achievers Award in the UK worked with a variety of charity initiatives and is currently an ambassador for Oxfam and music writer for Girl Effect Malawi.
His second album is set to be released early this year, and will contain music recorded from all over the world with some of the best talent he has collaborated with along the way. Jally comes from a very long line of Manding griots from the Gambia.
He started playing the kora, the emblematic instrument of the griots at the age of seven, learning its delicate flowing intricacies from his father and older brothers. Over recent years Susso has been experimenting with blends of traditional griot music mixing hip hop, jazz, blues and now funk. Many production rooms that produce a lot of good music historically are tiny — Motown in Detroit was one, Sun Studios was another such studio and Blue Lab boasts a shortage of space that would leave scratch marks on many an elbow.
Their production style is raw but also sophisticated — musical but not introvert. Dope-ass funk. Multi-sensory killa jazz.
The kinda music that makes your brain and booty dance. This is the infectious blend of groove, swag and often disarming fragility that confronts you as The Dylema Collective oozes their way through their young yet hypnotic set.
GAfro-folk from Bamako Overgroundand electronic songstress Eckoes. Kweku of Ghana is a prolific writer and virtuosic performer, comfortable across a wide range of styles from house and Afrobeats to Afro-funk, dancehall and jungle, electrifying live audiences with his wildly energetic stage presence. Though known for his incredible vocal performances, K.
G is also a talented arranger and percussionist, from balafon and djembe to his trademark dinner tray! On the night, he will be joined by Tom Excell himself for a very special duo performance. The trio are irresistibly seduced by the music of West Africa, blending its influences overtly and covertly with their own carefully-selected flavours to settle into mystical dance grooves and desert blues. A prolific songwriter outside of her solo project, she has penned songs for many other artists, hitting 13 in the UK Club Charts last summer with Deeper a track she co wrote and featured on, produced by Le Visiteur.
At the helm of her project she stands, a six-foot statuesque weaver of hypnotic sounds taking the industry by storm. Amy studied piano from a young age, and began learning guitar and violin in her teens.
After being accepted to the University of Cape Town for a music degree, she decided to take a break from classical training and instead studied a degree in languages and translation whilst focusing more on the guitar and songwriting. She began performing in her hometown of Bulawayo after a brief stint of travelling on her own and working her way around Europe in A factory of sound, materialising the musical fantasies of a new generation of jazz musicians.
With such a melting pot of influences and characters, the music ranges from luscious and sweet melodies to broad walls of sound, from drum and bass to funeral marches, from fairytale ballads to calypso.
The musical glue binding it together are the seventeen musicians that power the vibrations and their universal passion for improvisation. Drawing on the wealth of history of the big band format, PJO have revamped it into a well-oiled machine that embraces a modern day philosophy of music making. Ideas for the band began forming in earlyand in November that year the seventeen-piece group made its debut to a sell out audience at the London Jazz Festival.
They have just finished recording their first album at AIR Studios, scheduled for release in early Creating a variety of textures using the delicate paring of these instruments with electronic effects, loops and percussion, this duo featuring Clara Serra Lopez on vocals, electronics and hand percussion and Matt Gedrych on electric bass and electronics plays original music and improvisations based on the sounds, rhythms and expressive nature of jazz, hip-hop, neo-soul, Latin and African music.
Just north of Docklands, the impeccable feminist jazz initiative Jazz Herstory continues its rolling series of gigs at Poplar Union featuring top female jazz talents. She has toured across the UK and Europe, contributing a huge amount to the production of music in and around London. Her music is very spontaneous, drawing on repeated phrases, pulled in all directions by various members of the band at different times, shared and passed around and developed.
The music seems to grow out of nowhere and submerges you in a musical journey. As a leader, Alison ties together many of the strands of her numerous musical influences: a long-time Charlie Haden admirer as well as being a Jaco Pastorius and Stanley Clarke fanAlison is supported by some of the most accomplished musicians in the UK today.
The influences are diverse, with traits of funk, folk and Afro-Cuban dance music. Expect terrific grooves, poignant melodies and fluid improvisation. On video, Gabriela Eva is a colourful explosion of appropriated and deftly spun images. In support is Yazmyn Hendrixwhom I last saw four-and-a-half years ago providing guest-vocal accompaniment to What?! By herself — armed with a microphone, a loop station, and assorted live percussion and beatboxing — she creates layered a capella choirs and vocal ensembles out of herself: either simple classic sounding pop songs, the cover versions mentioned above, or assorted vocalese experiments.
Young post-blues singer-guitarist Luke Cave — a. Born in Boston but currently London-based and sporting members coming in from Denmark, Sweden and Scotlanddream pop band Moon Panda will inevitably always ring Californian, not least because of the sheer sun-kissed San Diegan beauty of frontwoman Maddy Myers. Their songs are constantly, carefully changing beasts: encapsulated within their yearning melodies and taffy-stretched hooks, they have finely honed choral a capella parts, strange and revelatory key changes, sudden pauses and unorthodox shifts of time and dynamic.
The lyrics too, eschew the cough-syrup blankness and drunken, dissolved sensual dazes of the genre; in effect, avoiding its copouts. Instead, Moon Panda are dream pop on the verge of waking up, or of piecing together the dreamwork. From here, Moon Panda seem more like a measured curious hand rippling the waters or testing the surface of the mirror, fingertips uncovering and assessing what would otherwise been smoothed away.
As I was getting in the cab, he came up to me and said, 'Look, I just want to let you know I love you very much. Moments later he put the gun to his head and killed himself. But when the rest of his band mates came to visit him, Rob didn't feel they took him seriously: 'They came to see me lying in my bed and my glucose drip and must have thought, 'What is he doing here?
It's always kinda hard to take that kind of thing totally serious, but we just went 'round and said, 'Oh, com' on Rob, you know, you look fine, you sound fine, you must be fine. Downing, VH1 Behind The Music, 'I had to go through those moments and bloody knuckles and so on to get to the point of recovery.
I've been through twelve years now. I know what makes me tick, whereas before I was clueless As the Priest Halford who often rides on stage with his Harley has gone through some hard times with drinking and is proud to say he is clean and sober. But that's changed. Some of the guys still drink, but I haven't drank or drugged since January 6, I just knew that I was completely powerless over life, and when you admit that, it's your first step to becoming sane again.
There's still a lot of temptation out there, and Album) very easy to slip, but I've been given all the tools that I need to get me through each day, and it's working. When I was younger, I didn't expect to feel this way, but I do and it has given me a lot of inner peace and comfort and strength. I'm not staying sober all by Album). I know it's coming from somewhere else, because I know what my weaknesses are and what my foibles are. So something else is going on here.
She then progressed to Management Co-Ordinator soon after and has held that title ever since. I now work directly for the band but still out of the Trinifold offices and we work very closely together as a team - they are my best friends as well!
It's very full of experimentation and very modernism ways of taking heavy metal But a lot of it depends on what song you're putting it in. If I'm playing a solo in a song that could be a single, then there's no doubt that it has to be quite commercial as well.
Let's face it - you don't want to put a boring, self-indulgent solo in the middle of something that might be a hit. So, obviously, you have to allow yourself time to come up with something that really works. On Turbo, both Glenn and I tried to make all the solos like small musical structures that were melodic and flowed within the actual context of the songs.
And, because of that, the solos don't destroy or detract from what the songs are all about. I really think that everything Glenn did was perfect for the album and I hope he thinks the same about me. We've heard a lot of people say how much they like the guitar because it's pretty refreshing.
And how many bands playing guitar solos can you listen to? We've concentrated more on getting different sounds That are more interesting to listen to and actually have something to do with the song. The combinations are incredible. Downing, Turbo Fax, 1. Turbo Lover G. Downing Lead: Glenn Performed live in: ,, Available live versions: Priest It was written in regard to the twin turbos in Porsches.
Ken and Glenn had bought Porsche Turbos. I'd even bought a vacuum cleaner because it had the word 'turbo' on it! You won't hear me, but you'll feel me Without warning, something's dawning, listen Then within your senses, You'll know you're defenseless How your heart beats, when you run for cover Your cant retreat I spy like no other Then we race together We can ride forever Wrapped in horsepower, driving into fury Changing gear I pull you tighter to me I'm your turbo lover Tell me there's no other I'm your turbo lover Better run for cover We hold each other closer, as we shift to overdrive And everything goes rushing by, with every nerve alive We move so fast it seems as though we've taken to the sky Love machines in harmony, we hear the engines cry On and on we're charging to the place so many seek In perfect synchronicity of which so many speak We feel so close to heaven in this roaring heavy load And then in sheer abandonment, we shatter and explode2.
Locked In G. Video and audioRe-MasterDVD Promo video filmed I can't stand the way you move it You drive me crazy with that walk You get me so excited I tremble and I shake When you make the moves you make You've got the key The key to my heart Go ahead and use it Drag me in, slam the door Then I'll be yours, for evermore You've got me locked in Locked inside your love You've got me locked in Locked inside your love I can't take it when you touch me Feels so good I could explode You've got me in a frenzy I tremble and I quake When you shake the things you shake3.
Private Property G. Video and audioRe-MasterDVD You think you're cool and got it all You think you run the scene I don't believe how you'd conceive That your good enough for me You think you've got it all sewn up But I'll cut you right down to size The way I figure you don't exist So you'd better realize Don't you touch Don't get near Don't take me for a fool Make no mistake No give and take I'm too good for you So keep your hands off Private property Hands off Oh Oh Keep your hands off Private property Hands off me Hands off Keep your hands off me I'm number one when I turn it on Do you think you can relate You'd be amazed, left in a daze To see me operate You live in a fantasy I don't even care If you're lookin' for sympathy It ain't there4.
Parental Guidance G. Video and audioRe-MasterDVD A bit of a controversy was stirred up in the media that led to the writing of this particular Priest tune: During the creation ofTurbo, Priest were feeling heat from an organization formed to censor popular music. These and other wives of powerful Senators the 'Hollywood Wives' as Frank Zappa characterized them apparently did not approve of anything their own children were listening to, so all forms of rock music, no matter how innocent, were suspect targets!
A full document on the case can be found here Tipper Gore, wife of former U. The song was given an X rating for sexually explicit or profane lyrics. Then they would go back to the PMRC hearings. With the Turbo album, I hope each and every one of them crammed it up their ass when it came out, because I'm sure that they were expecting something that they could really get their teeth into and utilize.
Being the true defenders of the faith, I think that we did metal music a real good turn with the Turbo album, because I think that they were out to get Judas Priest. And if they could get Judas Priest, they would get metal in general. Obviously, they had another go at us with the court case later on in Downing 'So we were recording in this famous studio in Miami. George Michael was right next door to us in the same studio. And then the PMRC comes along.
And there we are on CNN! We're shown on stage and they're printing out the lyrics to 'Eat Me Alive'. It says, 'I'm gonna force you at gunpoint to eat me alive' and I'm thinking, 'Oh no! But the album did really well, and the tour was just fantastic. And we had more girls at the concerts than ever before! Of course, it was a good one to pick on.
It tells the parents of the world to leave their kids alone. It's not disrespectful, but we've had enough of groups of mothers telling their kids what they should and should not listen to.
Video and audioRe-MasterDVD In the cities of the world You know every boy and girl Goes crazy to the beat of rock n' roll And as the volume's soaring All the crowd is roaring Let it roll Well, we don't care in the least Cause our metal is a feast But there's always someone trying to put it down So we crank the music louder And our voices turn to power With a wall of sound we'll blow 'em all away Rock you all around the world We're gonna rock We're gonna roll We're gonna shake you down We're gonna lose control No one can hold us down Just look around and see This generation's getting up and breakin' free We're gonna rock We're gonna rock you6.
Out In The Cold G. The fears are comin' back to me once again Oh, I wish you were here Takin' good care of me I want you I feel as though I'm out in the cold Out in the cold Hear me calling Cold Out in the cold Please rescue me I know it was you I hurt I didn't mean to hurt you So much to forgive and forget Can't take anymore of this hurt There's so many things I regret Shut me out Out in the cold Where are you now Hear me calling I need you I'm so cold Can't you hear my heart beat Out in the cold Please rescue me Give me a chance baby There's nothing I wouldn't do to make it alright Just for one more chance baby I need all your lovin' tonight 7.
Hot For Love G. Reckless G. They liked the track and wanted to use it but we were too late to take it off the album as all the pressings and artwork had been done. And they wanted an exclusive track for the film, so it didn't work out. They would have probably purchased the song outright from us. We wouldn't have seen the benefit of that other than seeing it in the movie and getting the exposure. In hindsight, it was probably a big mistake in the band's career, because the soundtrack sold in excess of 5 million.
To be honest, when they said, 'This movie's got Tom Cruise in it', we didn't know who the fuck he was. Downing, Goldmine magazine, June 5, 'We were down in the studio mixing the album and everything was just working out. We thought the album flowed really well, but that was a big mistake on our part.
Obviously, it would have been cool to have that in the movie, but we didn't. We offered them three other songs, but the producers didn't want them. Downing, Circus Magazine, December No one can stop me now I'm like a human dynamo Live wired and chargin' out with power This time I won't hold back I'm rarin' to get up and go Fuelled up and growin' by the hour Look out I'm blastin' through the lines Alive and kickin' Watch out I'm young and lethal I'm goin' from here until eternity I'm feelin' reckless Way out of hand, a real survivor Reckless Comin' at gale force ten Around me I feel the shock waves, Building for the energy A force field that no one can break through Solid as rock, no wonder I am indestructible First placed in everything I do Radioactive I'm shootin' through the atmosphere Takin' off I'm headin' like a rocket through the stratosphere Downing Lead: K.
We kind of kicked it around here, then we went to a bunch of other places, but that song was created here in the Valley, and it's just one of these little diamonds that kind of escapes the pile. We've heard the title, blah, blah It was a song that was called on the most by the fans so we put it on the set for them. The fans are the most important part of Judas Priest; they keep us alive and vital.
At that time, then future Priest drummer Scott Travis was a member of Racer X and therefore got to record an unreleased Priest tune three years before joining the legendary band in '89! Jeff Martin had a demo of it and we learned it. I told Rob right then and there that he's got to let me do this tune one day. Well the end of the year rolls around and Racer X are in the studio still short of an album, and it hits me - so I call Rob to see if it's all cool.
He checked and said, 'Go on with it'. Later on, a year or so after our release of it, we got wind that Glenn Tipton just found out it was recorded by us and was pissed as hell! Sorry Glenn Rob Halford - v, Glenn Tipton - g, K. I was walking around backstage, and there she was. I went up to her, I started to introduce myself, and she interrupted, saying, 'I know who you are! I just want to thank you for that really cool version of 'Diamonds and Rust'. It's my son's favorite song now.
This living legend, wonderful performer, and big part of American culture and folk music, to say something so sweet and kind. I laugh and say in his ear, 'Yes, I heard it long ago, before my son even knew', and his manager is standing two feet away, saying, 'I don't believe this. I don't fucking believe this'. She's a really nice lady and we promised to send her the royalties. I could probably name 20 or 30 other bands that sold in excess of 5 million just in the States alone.
With Judas Priest, if people came to our concerts and saw us live, they would think, 'This band must sell millions and millions of records! Downing, Goldmine magazine, June 5, Though the tour was a sellout success wherever the band played, a bit of a controversy was started among the fans when a Kerrang! The drummer was Jonathan Valen, formerly of Legs Diamond, and although Dave Holland actually played on the tour,Valen took the opportunity to do an interview and claim he was ex-Judas Priest!
We were using triggers on the drums, with a new kit that nobody in the world could operate. It was one of the original EMUs, so we got this guy to come out on the road for the first three weeks to nursemaid us and show the crew how to use it.
And somebody spotted him under the stage. He was a drummer, so they were saying, 'Dave Holland isn't playing drums'. I think he used to get changed every night into his stage clothes - He was a bit of a would-be star, and I think he took it upon himself to do an interview one day I'm sure he'd be reeling off some wonderful expletives to describe these guitar synth things They're good fun if you know how to use them, and I think Glenn and K.
We've been having so much fun with Glenn's recently: It's been going wrong every night at the beginning of 'Turbo Lover'. At the end of the song we've had to apologize and say we just had to do some tuning! Glenn was doing his infamous one-note guitar solo in the midst of 'Victim Of Changes'.
Just as he started to get into it, his wireless transmitter for his guitar started to conk out. He hit it once or twice and it came back on, so he tried to continue. It conked out again, this time for good. He just made this gesture to the crowd like, 'Oh well, what can I do? First, his guitar tech came running out on stage and started fiddling with the transmitter trying to coax it back to life.
Then, from the opposite end of the stage, K. Downing ran out and actually did the entire mid-section solo!
He finished the solo, and the whole band came back in on the song except for Glenn, who ran back out on stage with a different guitar just a second or two late. They all finished the song, and the Priest guys were all laughing at him!
A large robot would come out in the back of the stage, behind the drum riser and it would actually pick up Ken and Glenn. And on a couple of occasions, things would happen and they would be left hanging up in the air.
There were a few hairy moments. Downing, Kerrang! American tour support act Dokken 'It wasn't odd to us to open for Priest because we considered ourselves to be a heavier band, or we wanted to be a heavier band anyway. It was actually a good tour for us in that it helped us learn to be heavy from one of the best.
Priest was so good back then, and they were very inspiring to watch and learn from Downing, guy man, he hated seeing us walk away with any girls that were in the building. If they were blonde, it was like, 'Tell Dokken to leave the blondes alone. There were certainly more girls in the audience than ever before Anybody bring their mothers tonight?
Send them backstage afterwards John Heyn and Jeff Krulik weren't going to be able to bring a camera into a concert, nor would they get to interview the band members on video; no, they simply took a video camera around the parking lot of the Capital Centre in Landover, Maryland on May 31, to capture the fans in their natural habitat awaiting a Judas Priest concert!
It's truly an ingenious masterpiece, made complete with the vast display of bare feet, muscle shirts, bare-chested guys, bleach blonde frizzy perms, Mullets From Hell, BIG hair, bad teeth, scar tissue, and by far, the largest collection of late 70s Cameros ever seen in one location.
Kudos to both John Heyn and Jeff Krulik for putting together this quintessential '80s magnum opus. I find it amazing that 1 we used surplus tape stock and 2 we only shot about an hour of tape. We talked to the promoters and they got us [imitating a girl in the video] 'backstage passes! I remember the caterer. We were backstage so I thought, 'Hey, we get to eat!
We lucked out. We didn't particularly target Judas Priest, but they were at their peak, and they were headlining the Cap Center on a spring day. They're like the Rolling Stones or the Beatles of heavy metal. Their music will stand the test of time. Hollywood types like Belinda Carlisle and Sophia Coppola started renting it. We stole from them and they stole from us. I've been going into parking lots ever since I got into rock 'n' roll and that's a good place to see and meet the real people, meet the real fans Plain nearest-neighbor HQ2x, a classic CPU-based filter Luckily, we have a lovely device called the GPU, which specializes in crunching through calculations in a highly parallel fashion.
Graphics processing can be parallelized extremely well, and thus explains the design of modern GPUs, tons of weaker cores. Up till recent years, graphics cards were locked into one specific function. Programming legacy OpenGL back in the day was essentially turning on a zillion different knobs of a big black box the GPU.
You wanted lighting, you enabled lighting, set some parameters here and there, and done. Easy to get started, but horribly inflexible once you want to do complex stuff. This is now called the fixed-function pipeline. Eventually, developers understood that we needed a way to treat the GPU more like a conventional computer. Rather than turning on a tons of different knobs, you implemented the things you actually used in a simplified programming language.
Full control and flexibility at the cost of a slightly steeper learning curve. These languages are what we call shader languages. Syntax resembles HLSL. Before, it was practically impossible to implement a filter like HQ2x on the GPU using fixed-function pipeline. The hardware was far too inflexible to allow this. However, with our new programmable hardware, it suddenly started to sound feasible to program filters on the GPU. Example of some interesting shaders running in Petes OGL2 plugin Shaders instead of CPU filters by necessity On the PlayStation 3, Sony provides developers with a Cg shader environment, and this was basically an invitation for us to use it in our emulator ports.
The RSX found on the PlayStation 3 is reasonably powerful despite its age, while the PPU unit is quite weak relatively speaking runs conventional code very badlyso it makes perfect sense to offload all graphics processing to the RSX, where it belongs. One problem with shaders is that they typically need to be written specifically for each emulator, even if they were written in the same language. As with normal code, where you have APIs you can communicate with, the rendering code needs to communicate information with the shader program running on the GPU.
How big is my texture? What are the coordinates? Usually, every emulator out there tended to implement their own interfaces, so shaders still needed to be ported between every emulator that wanted to use them. I believe SNES9x-PS3 and its brother ports was the first emulator port on a console to utilize shaders, at least as a major feature. Its shader library is becoming reasonably sized. This meant that shaders could easily be tested on the PC before being transferred over the PS3, achieving the same result, greatly helping out with debugging.
Shaders are essentially simple. Essentially, doing as much on the GPU as possible was a design choice from the start. Later on, I implemented a multi-pass specification for the. This is known on the PS3 ports as the FBO-mode, which allows two different shaders to be used in a chain in a mix-and-match fashion. This feature is encapsulated in. I believe lots of ideas could spring out of this at least.
Almost all the processing happens on the GPU. This means that writing a. The single-pass implementation is usable in the recent 1. Ideally, I think a shader should be expected to work on a broad range of emulators out there. I believe shaders will completely replace CPU filters eventually. Remember, this is a multi arcade emulator based on the source code for Final Burn.
This file contains your options. It is a great development environment, and the stuff that is available before launch is really good in terms of helping developers with performance tuning an so on. If your membership has lapsed, you'll still get discounts, but only one "deep" worth. Sony announced the 11 games that will form the basis of the sale, including Scott Pilgrim vs.
Check out the full list after the break. If you see anything you like, we suggest going and purchasing a PSN card to pay for it, on account of We think we've found an upside to this announcement beyond learning that there's a comic book based on the Suicide Girls -- the end of PSP comic updates means you can now collect them all. There may be more comics in the future, just not on PSP. Sony said that "The Digital Comics Team will continue to work on bringing the comic service to other Sony devices.
Did you summon half your street to join you in a game of TimeSplitters? Wouldn't you have enjoyed your PlayStation 2 games much more if you'd just left them sealed on the shelf? That's the eye-watering achievement collector Ahans76 has achieved, spending the last decade stuffing first edition only with the Sony hologram attached titles into a bookcase and steadfastly refusing to open them.
In an interview with PlayStation Collecting hit the source link below he reveals much about the collection but doesn't mention if he ever opened his PlayStation 3. That would certainly be one way of keeping your credit card secure. July 8th,Posted By: wraggster There may be be no word on a release date yet, but games retailers are already excited about PlayStation Vita. Speculation is rife as to when Vita will arrive. Hirai has said the handheld would be available by the end of the year.
Details are expected to be given at Gamescom in August. July 8th,Posted By: wraggster The test kit firmware was nabbed by a hacker known as Consoledev at demonhades. This firmware is only for developers, researchers and this will only work on TEST units. Stick to the public 3. As mentioned above, though, it could lead to the emergence of custom firmware in the future.
July 8th,Posted By: wraggster If you don't have a PlayStation Move yet, but desire one primarily for its function as a semi-imaginary golf club, good news! The bundle of a popular Move-enhanced sports game and the hardware seems pretty natural to us, but the timing of this bundle is somewhat less natural: Tiger Woods 12 actually came out in March. We're not used to seeing new hardware bundles for random already-released games.
Perhaps this one got stuck in a sand trap, much like this post has become mired in a forced golf metaphor. July 9th,Posted By: wraggster Sony has outlined details of a PSN problem that it temporarily stopping PlayStation Plus subscribers from accessing some of the free content on offer. The issue stems from the infamous Welcome Back program, some legacy code of which is preventing full PlayStation Plus access. This issue is the cause of many of the other problems you have reported here on the blog, such as new content not showing up in the Store as expected.
Communicating via Twitter, the Wedbush analyst called the PS3 online pass system - which is set to launch with Resistance 3 - poorly timed. Curious if they make any money off this, I expect not," he wrote.
Sony confirmed this week that the game-specific initiative will see games include "a single-use registration code that grants the account holder redeeming the code full online access for that title. One of the first questions Sony asked itself when creating Vita was how to improve on the PSP's controls.
That's something we wanted to attack with the PS Vita because we wanted to enhance the portable core gaming experience and we have to do it right. This is why Vita features touch-screen controls, a rear touch pad and motion sensors as well as enhanced graphics and dual analog nubs. That's why we spent so much time innovating with user interface devices like the touch pad or camera and motion sensors.
Announcements are expected at German show Gamescom next month. But people who have joined the scene a bit earlier know that the biggest hack for the PSP was the pandora battery, where hackers discovered with lots of work and a bit of luck that the battery in the PSP was used not only to power the device, but also to enter service mode, so that Sony repair centers could quickly fix a broken flash or install a new firmware on a PSP.
It is also extremely safe, because even if you mess up your flash, you have ways to rewrite it entirely, so there is no risk of brick, unlike recent CFW installation systems. Sony quickly reacted and their new PSP models were not compatible with this Pandora battery anymore. The first model of motherboards to include a security against the Pandora battery was the Ta88v3, the doomed psp model. Further models the psp even added more security, rendering the Steppin It Up - Dynamo Productions - Analogue (CD itself useless.
Both vertex and fragment Now Programs get updated with the ones from the shader. Being loaded - Changed audiosample rate from 48, to 48, - the Closest We Can Bring this to 48, Without audio crackles - We Will Ensure the more video Will Be blocking - giving us better video performance. For the user: - Implementation of a jog in the ingame menu - use either the Cross or hold R2.
Custom mode corresponds to that previously available. You can also switch to this mode if you have selected a different aspect ratio from the ingame menu, via the 'Resize Screen' and then leaving again. July 10th,Posted By: wraggster [Zach] sent in his temperature controller and display for PS3, and even though it only works with a PS3 fat, we like our PS2 backwards compatibility very much, thank you.
The build runs off an Arduino Pro that gets the temperatures from the sensors, prints everything to a custom 7-segment display board, and controls the fan. July 10th,Posted By: wraggster Sony has extended the registration period in the United States for its identity-theft protection service, AllClear ID Plus, which will provide one year of free, intensive security coverage for PSN and Qriocity users. Registration will now run until July 31 at p. The offer initially ended June 28, so sign up now while this armored, bullet-proof window of opportunity is still open.
In addition to that, a port to mobile platforms is tentatively in the works. A few screenshots taken from the PS3 version can be viewed here. The Xbox port will require some cleaning up. Mobile A mobile port for Android is tentatively in the works. More progress on this one will be posted shortly.
He surely trusts his work, as the video shows him intentionally bricking a ta88v3 by removing the battery in the middle of an Official Firmware updateand bringing it back from the dead with a Magic memory stick.
Again, the legality of this tool is extremely controversial much more than the Pandora Battery, if you askso please do not share any links here. July 11th,Posted By: wraggster The former boss of Sony Europe has predicted that the hacking community may not be finished targeting PSN just yet.
Sony claimed at E3 last month that 90 per cent of PSN's user base had returned to the service following April's attack, which exposed the personal details of over 70 million gamers. Reeves, now-COO of Capcom, admits that his current employer did "suffer" due to the PSN attack - but also believes Album) its aftermath has shone a light on the success of pre-pay cards. Capcom did suffer for a month, and we were not alone. He added: "We have seen in the last week We have seen on PSN, and probably Sony are in a better place to tell you this, that there is a resurgence in people buying the generic PSN cards in retail stores rather than putting up their credit card details But the generic ones have done well.
That's my personal opinion. I mean They are going to say: 'So you think you are secure? The service had remained down in the territory for over two months. July 11th,Posted By: wraggster If you're the proud owner of an Xperia Play then you're about to get prouder with two more classic PlayStation titles becoming available on the Sony handset.
If you've still got a bit of change left over then you can also pick up Syphon Filter, which is also priced a penny shy of four quid. The duo join a long list of games for the Android phone. A new line-up of titles including Battlefield, Rainbow 6 and Lumines was announced for the device last month. July 11th,Posted By: wraggster Speaking to Develop Online, Sony Computer Entertainment's Worldwide Studio President Shuhei Yoshida said that the gaming megalith sees value in the continuously expanding world of indie development, and that supporting those developers is the key to industry growth.
He also added that the Vita's development kit has been specifically engineered with affordability in mind, and that the system is "small and light and easy for developers to handle. Gamers will be able to download the show from PSN.
FirstPlay launched last year and its last episode was released on July 6th. Based on a sample of IGN users, the report found that 17 per cent of users had downloaded a game from the PlayStation Store last month, compared to 13 per cent in March, before the shut down of PlayStation's online services.
PlayStation's share of games purchased by consumers also increased from March to June, from 40 per cent to 44 per cent. Again, even with the free games removed from the analysis, the share had still increased by 1 per cent. The research lead EEDAR to recommend that publishers make older versions of games free to users for limited periods around the release of sequels or follow ups. It's sources indicated that games like LittleBigPlanet 2 benefited from having an earlier iteration released as part of the free scheme.
Dead Nation 2. July 13th,Posted By: wraggster Well, looky here. No press release, no splashy press conference backed by a cheesy disco soundtrack. The thing just showed up at the carrier's holiday preview event here in New York City. Two, it'll be available in a blue color option, in addition to the stock black model we've handled before. Hands-on shots with the sparkling navy number below. July 13th,Posted By: wraggster Future Publishing and Sony have announced that FirstPlay, the paid-for PSN digital magazine, will be retired in favour of an as yet un-named free replacement.
July 6's episode of FirstPlay was the last to be published. That plan is already seeing rewards, with downloads on the way back up as gamers return to the service. The jump isn't surprising, given the free titles Sony made available.
Even taking those out of the equation, though, downloadable ownership was still up to 15 percent in June. The firm also noted that interest in sequels to the free games, notably LittleBigPlanet and Dead Nation, rose significantly.
Specifically, LittleBigPlanet 2 trailer views were up 69 percent on GameTrailers, while Google Insights data indicated a greatly increased number of searches for the term "Dead Nation 2. Essentially, in order to drum up interest for upcoming sequels, publishers could release their respective prequels for free for a limited time.
The report acknowledges that this is a risky maneuver, though it notes that the free titles would only have to boost sales of their sequels by a small margin for the practice to be profitable. July 13th,Posted By: wraggster Signs are pointing to a change to future versions of the PS3 console that will mean it is unable to display much of its key content over a component cable.
Presumably, the machines will ship with the required connection. It is speculated that the change is a result of alterations to the AACS content protection system, which governs many things including copy protection systems on Blu-ray discs.
Some content will be blocked altogether on analogue outputs. Older machines will not be affected by the change. Sony's Welcome Back offer has ended and the company has now caught up with the backlog left by the PSN downtime. Noire episode. The Reefer Madness vice case pits Cole Phelps against a city-wide dope ring and is free for those who own the Rockstar Pass. Want some freebies for MotorStorm Apocalypse?
Elsewhere, gamers can nab a free trial of colourful bullet blaster PixelJunk Shooter 2. Meanwhile, top-down co-operative zombie slayer Dead Nation becomes available as a trial and unlock demo. Fan favourites Cloud, Tifa, Sephiroth and Aerith feature. And that's about it. US gamers also get a demo of Catherine on the US Xbox marketplace now tooalthough the current lack of a European publisher rules out a similar demo here.
The earlier report, which stemmed from a letter to retailers stating that new PS3 models will no longer be able to transmit high definition images via component cables, is incorrect, a Sony spokesperson told Ars Technica.
Starting inall new Blu-ray players won't be able to include component ports at all in order to be in compliance with AACS. The investment will include support for Sony's first party studios as well as for the Pub Fund, which grants outside developers who make PSN exclusive titles financial assistance without having to sacrifice their IPs.
PSN director of marketing Brandon Stander said: "Our line of PSN exclusives has had great success with titles such as Joe Danger, Critter Crunch, Flower and the PixelJunk series, and we're excited to add new and different game experiences to this portfolio of games that can't be found on any other game console.
Under this investment, we're committed to delivering titles that have innovative gameplay mechanics, vibrant visuals, interesting storylines and an artistic element to interactive entertainment that can only be found on PlayStation Network. The Welcome Back offer, which granted users free access to games like LittBigPlanet and Infamous for a limited time, is thought to have been behind a significant increase in interest around the titles' sequels.
And according to EEDAR, publishers could drive sales of new games by making previous entries in the franchise available for free. Mass Effecttypically realise much stronger sales on previous iterations the month prior and after a new iteration is released, to the point where the risk of losing all those sales may not be made up through purchases of the new iteration.
July 13th,Posted By: wraggster Now that Sony has spilled the carrier-exclusive beans on at least one of its tablets, the S2 clamshell, the company kindly gave us a chance to get some long-awaited hands-on time with both it and its sibling, the S1 slate. And at time when it feels like we handle a new Honeycomb Android tablet every other day, these at least usher in some pretty unusual form factors.
On the one hand, you've got the S1, a 9. On the opposite end of the spectrum, there's the S2, which opens to reveal twin 5. Alas, we only had a few minutes to poke around, and in particular we would have loved to spend more time sinking our teeth into Sony's spin on Honeycomb. For now, though, enjoy those close-up shots below and head on past the break for some early impressions. July 13th,Posted By: wraggster It's been a few months since Sony made its tardy entrance into the tablet market, and since then it hasn't been sharing details so much as teasing them in whimsical, perplexing ads.
Finally, the outfit's ready to take specifics. Sony's is quick to remind us that "S2" is just a codename, so don't be surprised if it surfaces with a completely different moniker. Also still MIA: details on when, where, and for how much you'll be able to nab that folded magazine-inspired S1.
Check out the press release below. This latest and final version includes two-player support and adds the ability to jam your own tunes while exercising that brain of yours. DJ Kool Herc is the originator of a proto-sampling technique that directly informs Controllerism as a musical practice, hence the importance of his historical contribution to this thesis.
At night, he was not allowed to attend because of his young age at the time, but he could hear the music, and feel it, due to the sheer power and vibrations emanating from the speakers. Early on in his career Herc noticed that many of the youngsters seemed to dance more effusively to certain parts in the songs he was Djing. Those parts were usually devoid of vocals; stripped down of other instruments, and predominantly featuring rhythmic sections, such as drum intros, breaks or solos.
As the first record played the break, Herc would cue the second record to the beginning of the same break same position on the recordpreventing it from moving by exerting pressure on the vinyl, and then releasing it on the downbeat of the first bar after the first break had finished its cycle. Bronx too was under the yoke of the politics of abandonment see Chang and like in Kingston, the youth looked towards Sound Systems - called block parties in New York - for an escape from violence and poverty through music.
Eventually technology emulated the practice, and Samplers were manufactured extensively, ushering in the era of Sampling in Hip-Hop production and performance. All popular DAW69 software such as Pro Tools, Ableton Live, Logic, and Cubase have been designed according to the logic of interpreting music as free-moving layers and blocks, enabled by multitrack recording and digital editing and sampling. Image retrieved from soundonsound. The term block thinking without a hyphen is used in psychology to describe the blockage of thought, or mental blocks.
It has also been used without the hyphen by Charles Taylor to describe generalized thinking about cultures, as an imposition of false unity, mainly with derogatory connotations. It is important at this point to reiterate that these logics have imbued Remix Culture, of which Controllerism is a part of, and as such Remix Culture has entered the ongoing debate that permeates this thesis, but, Remix Culture per se is not the focus of this work and is only present as a corollary in kin with Controllerism.
In ending, I will exemplify how Sampling, in music, has been a practice that goes beyond the editing and manipulating of audio clips, and can also be found in the appropriation of lyrical, melodic and harmonic content, particularly in popular music.
My guru-ji Misha Masud did her best to make the theoretical and cultural framework behind Tabla drumming second- nature to me. Yet, in hindsight I must admit that although for the most part I was a quick study - having had experience in other musical instruments and settings - in most of our sessions I was a fish out of water.
However, coming from a musical background that was inclusive of Sampling audio, I was able to perceive important similarities in the logics used in Classical Hindustani solo percussion practice and Sampling in more recent musical genres. Yet sampling is not reserved to this approach and in fact, any audio source can be sampled and manipulated musically.
It is a mixture of thematic and Interjectional material involving the breaking down of a rhythm, melody or harmony into smaller constituent parts, and the consequent reorganization of said parts into a new order. It is precisely this organizational practice; this underlying logic at play that is central to my argument in that it informs us about commonalities between musical practices separated in time, space, and in more ways than one: reality.
What would be done with machines in capturing, slicing and manipulating audio musically was, no doubt, inconceivable to Tabla gurus some years ago, but the form of rationalizing music was, and still is.
The use of cyclical rhythms talas over which cadential compositions are superimposed and developed in a solo practice of improvisational organization are at the foundation of a tradition that dates back to the late 18th century Gottlieb ; a logic later revisited by Dub, Turntablism, Sampling and Controllerism today. To take something that is already there, react and dialogue with it, readapting and transforming it into something new, is at the very heart of various musical 70 Term derived from the Turntable technique of locating a sound such as a horn hit and then releasing it over the beat in order to add to the rhythmic and sonic complexity of the loop.
Hence, the two categories of block division used in Sampling can also be applied to Tabla solo logics, followed by the same organizational practice: Category A Thematic: Loopable compositions of grouped notes with a unitary sense and a feeling of resolve, such as a Kaida71 or Tihai72, Category B Interjectional: Unloopable Tabla notes, or smaller groups of notes. Other similitudes between the two logics are: 1. They both are constituents within larger macrostructures containing both cadential and cyclic approaches; 2.
Cadential forms move forward towards resolution, usually on the first beat of the bar the Sam ; 3. Cyclic forms are less defined in terms of direction.
The cyclic material is the groove or rhythmic foundation upon which the main musician builds the performance. The stability of the cyclic form makes it suitable for providing the musical framework for either Tabla solos or accompaniment. Visual representation will be valuable for this purpose, enabling us to interpret the logics at 71 A Kaida is a type of cadenza used individually as a Theme and also as a source for Theme and Variation type of extrapolations 72 A Tihai is a very common type of cadenza used to end Theme and Variation compositions such a Kaidas and Rela.
Firstly, I would like to bring attention to a North Indian composition theme from which thematic and interjectional subdivisions are derived.
The word kaida is an Arabic word meaning 'rule' or 'a system of rules'. The rules for playing a kaida are complex, but in short, one must only use the bols notes that are in the original theme, follow the rules of tala, and maintain the bhari- khali structure.
The drum loop captured the drumming of one G. Until the s the song remained in relative obscurity when new sampling technology initiated a massive procurement for loopable. Genres such as Hip- Hop, Jungle and Drum n Bass have heavily appropriated the Amen Break into their lexicon, arguably making it one of the most influential drum beats used in electronic music.
According to whosampled. Figure 11 - Notation and block subdivisions for the "Amen Break". Observable from the various derivations is the potential for a large number of rhythmic reconfigurations. It will become evident in the next figure that without introducing foreign elements to the sonic source one can derive rhythmic permutations that do not sound at all like the original sample.
The figure below demonstrates precisely how theme and variation can be used to articulate new rhythmic ideas without straying from the source audio.
These resemblances raise questions that challenge and debunk negative perspectives about the validity and authenticity of Sampling in music, one of which is authorship. At this point, it is important to mention that original authorship of a composition is a non- issue for Tabla players, as Tabla solos rely on pre-composed compositions, some of which are hundreds of years old, and attributed to various authors.
To make reference to a composition composed by a predecessor in Tabla lineage, or by anyone else for that matter, is indicative of a high level of respect, admiration, and reverence. DJ Shadow is known for his references to obscure songs as well as his Sampling mastery, and was entered into the Guinness World Records in for creating the first album made completely from samples The Bass and Turntable scratches have been used in the same way.
Various samples are interjectionally used only once, and other are used to punctuate sections such as the single Piano note and the Bass. The transcription is presented in schematized graphic displays, organized by song samples, and by instrument.
Continuing, it is important to note that Hip-Hop is not the only major musical genre to make wide use of Sampling: Popular music has also been sampling melodies for many years. Had cultural conglomerates succeeded in passing copyright laws that attributed individual or corporate ownership to melody as an intellectual property, and barred its usage, most of the music heard today would be outlawed, particularly Pop music, where a proliferation of melodies borrowed from other songs is abundant.
Yet, we have to realise that culture is not embedded in abstract concepts that we internalise, but in the materiality of signs and texts over which we struggle and the imprint of those struggles in consciousness.
This ongoing negotiation and struggle over meaning is the essence of dialogic practice. Many interpretations of intellectual property laws squash dialogue by affirming the power of corporate actors to monologically control meaning by appealing to an abstract concept of property. Thus the practice of Sampling, so central to Controllerism, could be construed as a technologically-powered artistic dialogue in which the struggle with the overwhelming materiality of ever-present signs and over-abundant texts present in the context of our globalized information age blurs the lines of ownership, enabling us to draw sources from anywhere and everywhere at any given time.
The song "Uptown Funk! In "Uptown Funk! It is interesting to note that in these two sampled songs further samples were found, uncovering an additional four layers of Sampling depth, and revealing that this kind of Sampling practice is a historical practice which is increasing in intensity as content becomes more readily available and abundant.
In order to capitalize on this technological advancement, Sampling Controllers were developed, and the seeds for modern Controllerism planted. This musical process allowed for the development of a very specific type of Controller which is central to Controllerism today: the musical interface that generates only MiDi output. That is, the musical instrument that does not make sound. The Routledge Guide to Music Technology defines MiDi Musical Instrument Digital Interface as the industry standard bus and protocol digital signal system, or system of number signals used to communicate performance information to and from digital instruments making music.
This concept, albeit abstract, is instrumental in understanding musical concepts central to Controllerism, particularly those that understand musical sound as transcending musical instruments; as controllable sound imbued with the musicality of an artistic operator see chapter 2.
The introduction of power-amplifying and precise keyboards, pedals and key mechanisms Controllerstriggering various hammers, valves or levers, to act as intermediaries between the playing human and sound production proper—i. Sound transducers microphones and loudspeakers allow to detach the sound phenomenon from its mechanical and acoustical production mechanism instrument by the means of analogue representation of sound as electric current. Sound transmission and storage techniques radio and tape recorder use this and other analogue representations to delocalize sound in time and space.
Analogue sound generation and processing devices analogue studio permit the direct production and manipulation of the analogue sound representation. They are at the root of what we know as Controllerism today, as an evolving musical practice that is heavily informed and influenced by technological advancements both past and present.
Mechanization and Automatization are still at the core of Controllerism logics, and are, in tandem with the processes of Virtualization, Globalization, Informatization and Hybridization informing the development of this musical practice. In order to situate Controllerism as a present point of axis in a developmental timeline with historical roots and various technological and stylistic permutations, one of my goals for this thesis has been to produce parallelisms between past and present that may provide a statement as to the logicality of Controllerism as an artistic manifestation within a society that is increasingly embracing and embodying technology into every facet of daily life.
One such deep running parallelism, far fetched into the past but projectable into the present, can be made between Mechanization and Automatization as they were conceptualised in various developmental stages in history82 and Controllerism as it is conceptualised today. During the year ofI was commissioned by a reputed restoration company to conduct a study of the functioning state of the Carillon in the South tower of the Mafra National Palace.
The restoration of the South tower Carillon has been enveloped in controversy and misunderstanding as to its importance to the field of musicology. I also vehemently proposed the oversight of the restauration process by competent musicologists who could defend the Carillon from any inappropriate shortcuts that would curtail preservation efforts and the safeguard of our shared cultural heritage.
Unsurprisingly so, as of latework has not begun, which I suspect is due to the incongruences between budgetary practicability and adequate methodology. Regardless of the outcome, on a personal level, the experience was invaluable and a year spent perched on the bells, measuring, diagraming and calculating away in the freezing breeze was a year well spent.
In fact, it was during this year that my fascination with the processes of Mechanization and Automatization really grew. As I mapped out the connections to the bells in the upper floor, I could not help but see a parallel logic in modern Controllers today. In my mind, the Carillonist hitting the levers in his booth; the message travelling through the metal wires and actuating the bell hammer to strike; and then the sounding of the bell, was tantamount to the Controllerist hitting the drum pads; the message travelling through a USB cable informing the software to play a determinate note or sample; and the resulting sound emanating from the speakers.
To me, there was a unifying logic in both systems, which were simultaneously straightforward and extremely complex. To begin with, both mechanisms are comprised of control Figure 18 - Mapping out the connections at the Mafra systems which make no sound, and sound sources that are Palace physically united to the controlling system Controller via signal- carrying connections, in one case metal wires, and in the other electronic impulses travelling through a USB or MiDi cable.
In the case of the manually played Carillon, the signal path is more straight- forward due to ergonomics. In contrast, with automated Carillon actions, more intricate signals paths were required due to the size of the constituent parts. As is observable the connections are quite direct, requiring only one point of signal redirection between the control system, in this case the keyboard console, and the sound source, in this case the bells.
The following diagrams and photographs show the various elements and connections going from one of the drum cylinders that contains musical pieces to be played by the Bells. C Bars D They enter the Bell floor at a vertical angle of 90o and pass under Bell nr.
E The wires then pass under Bell nr. F Once they reach the support beams beside Bell nr. G Finally, upon passing under Bell nr. Figure - Drum cylinders beneath the connected frames that carry Figure 22 - Drum Cylinder and pins that action the the signal to the upper floor where other frames redirect the wires levers and send the signal to the upper floor through signal path towards the corresponding Bell hammers.
Photo: Sergiy Scheblykin Although apparently unrelated, the logics behind the complex distribution of wires that connect the drum cylinder to the Bell hammers in automated Carillon finds a modern counterpart in the way many Controllerists use their control system Controllers to manipulate their sonic Figure 23 - Wire distribution from the North Frame until Bell nr.
Llera Blanes In the case of MiDi communication, wires and cables are replaced by electronic impulses that travel - unencumbered by physical magnitude - from hardware to software carrying with them complex commands.
In the following image we can observe a signal path in Ableton live software that reminds us of the distribution logics used in ancient automata: Controller button A triggers a composite sample B that is made up of two samples C and Dof which one goes directly to the audio output while the second passes through a delay effect E before doing so. The development of Controllerism as a musical practice through the historical logics of Separation, Division and Allocation discussed throughout chapter two, has led to a new era of digital audio manipulation.
It is a logic that focuses on customization and control, on liberating sound from its acoustic source and the player from the acoustic instrument, on repurposing sound and instrument by transforming how we dialogue or interface with them, reformulating our very understanding of what it is to play a musical instrument, or what a musical instrument is. Figure 25 below aims to further demonstrate the similarities in logic by use of a schematic display, showing a MiDi mapping for an orchestration made entirely with samples on a MIDI Fighter 3D and Ableton Live software.
Sonic decoupling is a process inherent in the Digitalization and Virtualization stages of musical instrument development and refers to the separation of sound from its point of origin; not as a vibration that emanates from a given source, but as a new un-proprietary sound that is stored, can be manipulated and recalled at will, to emanate from any programmatically given location.
This form of decoupling has been implicit in Sampling and Remixing practices, and when applied to Controllers has given rise to new — and powerful - creative forms of musical expression, among them Controllerism. Sonic Decoupling is the unified result of the three aggregate origins of Controllerism logic Layer Separation, Part Division and Delocalized Attributionand is enabled by the development of new music instruments Controllers that embrace the principles behind the stages of Digitization, Virtualization, Globalization, Informatization, Artificial Intelligence, and Hybridization see chapter 1.
Thusly, they are poised to shape Controllerism in the years to come. In a way, Sonic Decoupling involves using sound bytes84 to take the place traditionally understood as belonging to musical notes, and playing them as one would a musical instrument. There are cases of unconventional forms of playing that may not have any point of reference in traditional instrumental practice. One such case in point takes the form of gestural Controllerism.
The sound has been decoupled from its originating instrument, stored in a software and can be played back in any kind of Controller. The term Sonic Decoupling also appears in a few patents and publications to describe the decoupling of mud fluid from a drill in oil well drilling operations by acoustic means, either by sonically vibrating mechanisms or sonic wave generators.
I have borrowed the term for its capacity to define the idea of a short recording that can be reused within or without the original context. This was made possible by the development of a personalized set of expressions and virtuosic skills between artist and instrument Torre and Andersen At that time, early Controller prototypes lacked the possibility of programmatic customization due to technological restrictions, but recently, as this growing developmental trend gains momentum, multiple customizable Controllers and interfaces have emerged into the marketplace that allow artists simultaneous control over various elements of the stage, such as lightning, video, mixing effects, and multiple digital instruments among others.
At this point in time, wearable Controllers are an exciting new front in music Controller development, allowing for greater gestural interaction between artist and source of sound.
Imogen Heap, a British Singer and Composer, has been at the forefront of gestural Controller development, and has developed the Mi.
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