Music by Jed Whedon, lyrics by Jed Whedon and Felicia Day.
April 2, 2012
New from The Guild: “I’m the One That’s Cool”
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March 29, 2012
Violin cover of the “Norn Theme” from Guild Wars 2
Here you go .. Epic Guild Wars 2 Theme Cover before the game released! Ringtone will be uploaded soon. (i will post the link).
Alright alright , i know i am guilty. I should have uploaded video last month.Really I just study so hard.. Sorry about it.
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Edinburgh may be killing the cultural golden goose
Tiffany Jenkins talks about the origins of the world famous Edinburgh Fringe Festival and the powers-that-be who seem to be determined to strangle it with red tape:
In 1947, eight theatre groups turned up to perform at the newly formed Edinburgh International Festival, an annual event established to celebrate and enrich postwar European cultural life. The theatre groups had not been invited, and were not part of the official programme. So instead they created a spontaneous festival on the side. Growing year on year, with the theatre groups encouraging others to participate, this alternative to the Edinburgh International Festival eventually established itself, in 1959, as the Festival Fringe Society.
Today, Scotland is home to some of the top cultural events in the world. Many take place in Edinburgh during the August months, attracting high-profile authors, artists, comics and theatre companies from all over the globe. At the heart of this cultural firmament is the Edinburgh Festival Fringe, an event now funded and supported by government and local councils. Yet, in a nasty twist, those very same central and local authorities, currently enjoying the prestige of being associated with a world-renowned festival of culture, are seemingly intent on stifling the spontaneous, do-it-yourself impulse that originally gave birth to the Fringe.
[. . .]
From 1 April 2012, it will become necessary to have a ‘Public Entertainment License’ to undertake any kind of public art in Scotland. Previously a licence was only required for events charging admission. Starting next month, even the smallest local events being run for free — say in a café or a bookshop — will require one, which must be applied for six weeks beforehand. This will include exhibitions in temporary places, gigs in record shops, free film screenings, music in pubs. You know, even really dodgy stuff — like poetry readings to 10 men and a dog.
Apart from the form-filling and curtailment of spontaneity — you cannot just ring around a few friends and suggest a performance at the weekend — this will cost money too. In the past, fees for a ‘public entertainment licence’ have ranged from £120 to £7,500, requiring several months’ notice to be given to the council and three weeks public notice. Nothing will happen without long-term planning. Small venues, like cafes, which support artists and performers by hosting free events, won’t be able to cover the costs. And they shouldn’t have to. Art doesn’t need a licence, and nor do we to enjoy it.
What we are seeing is the hyper-regulation of everyday life where anything we choose to do spontaneously and between ourselves is seen as dangerous or threatening. The authorities want to monitor, codify and regulate the most normal, everyday interactions and behaviour.
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March 24, 2012
Al Stewart at last year’s Tawse Winery concert
This was a performance at Tawse Winery on June 18, 2011 for the winery’s 10th anniversary. Unfortunately, I couldn’t attend, as I was at the opposite end of Lake Ontario that day.
H/T to Dave Nachmanoff, who is performing with Al in this clip.
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March 16, 2012
Copyright MathTM
Now remember kids: always buy your movies and other entertainment items legally. You’ll get this kind of experience:
And here’s the reason you pay for a legal copy, rather than being one of those evil pirates:
Update, 21 March: The actual numbers — “by an actual Copyright Mathematician” — behind the Copyright MathTM video.
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March 14, 2012
Michael Geist rounds up the changes to Bill C-11
It’s not wonderful, but as he points out, it could have been much worse:
In the days leading up to the clause-by-clause review, many focused on three key issues: no SOPA-style amendments such as website blocking or warrantless disclosure of information, maintaining the fair dealing balance found in the bill, and amending the digital lock provisions. By that standard, the changes could have been a lot worse. The government expanded the enabler provision, though not as broadly as CIMA requested. Virtually all other copyright lobby demands – website blocking, notice-and-takedown, iPod tax, copyright term extension, disclosure of subscriber information – were rejected. Moreover, the provisions supported by consumer and education groups including user generated content protection, time shifting, format shifting, backup copies, Internet provider liability, and statutory damages reform were left untouched. This represents a major victory for the many Canadians and groups such as Open Media that spoke out on these issues.
The fair dealing provision was similarly left unchanged despite a full court press from publishers and copyright collectives who sought elimination of the education category within fair dealing (didn’t happen), inclusion of the Berne three step test in the law (didn’t happen) or a new fair dealing test that overrules the Supreme Court of Canada CCH test (didn’t happen). The expanded fair dealing provision will not cause the horrors claimed by those groups and it is heartening that the government dismissed the misinformation campaign.
The only loss was the least surprising — digital locks. Despite widespread support for compromise legislation and sensible amendments from both the NDP and Liberals, the government rejected any changes. Given the government’s consistent support for digital locks, the ongoing pressure from the U.S., and Prime Minister Harper’s direct intervention on the issue in 2010, amending the digital lock rules presented a major challenge. Government MPs yesterday emphasized the possibility of future new exceptions via regulation but that will be cold comfort in the short term to those with perceptual disabilities, researchers, documentary film makers, consumers, and the many others adversely affected by the restrictive approach. In fact, one NDP MP raised the possibility of constitutional challenges to the bill.
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March 12, 2012
Bad Romance: Women’s Suffrage
Bad Romance: Women’s Suffrage is a parody music video paying homage to Alice Paul and the generations of brave women who joined together in the fight to pass the 19th Amendment, giving women the right to vote in 1920.
H/T to Katherine Mangu-Ward for the link.
March 11, 2012
Music control freaks? The Nazis got there well before you
J.J. Gould in The Atlantic a couple of months ago, but brought to my attention by the folks at BoingBoing:
Skvorecky left no shortage of legacies to remember him by, but one of the more notable themes in his nonfiction writing is an emphasis on, as Welch puts it, “the oftentime minute similarities between applied fascism and communism.” And some of Skvorecky’s more notable variations on that theme in turn are found in his recollections and insights on the common totalitarian hatred of, among all things, jazz.
[. . .]
Anyone who finds this proposition fascinating won’t, I promise, be disappointed to read the rest of this book, or for that matter all of Talkin’ Moscow Blues: Essays About Literature, Politics, Movies, and Jazz. But maybe the single most remarkable example of 20th-century totalitarian invective against jazz that Skvorecky ever relayed was here in the intro to The Bass Saxophone, where he recalls — faithfully, he assures us (“they had engraved themselves deeply on my mind”) — a set of regulations, issued by a Gauleiter — a regional official for the Reich — as binding on all local dance orchestras during the Nazi occupation of Czechoslovakia. Get this:
- Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands;
- in this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;
- As to tempo, preference is also to be given to brisk compositions over slow ones so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated;
- so-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs);
- strictly prohibited is the use of instruments alien to the German spirit (so-called cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
- also prohibited are so-called drum breaks longer than half a bar in four-quarter beat (except in stylized military marches);
- the double bass must be played solely with the bow in so-called jazz compositions;
- plucking of the strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;
- musicians are likewise forbidden to make vocal improvisations (so-called scat);
- all light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them the violin-cello, the viola or possibly a suitable folk instrument.
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March 6, 2012
Meme replacement for “… is my next band name”
(Remember to mouse-over for the rest of the joke, or click the image to see it on the xkcd site)
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March 4, 2012
The continuing musical influence of Charles Mingus
A post from a few weeks back, but still relevant:
Charles Mingus was recognized in his lifetime as a virtuoso bassist, accomplished pianist and bandleader. Today his enduring legacy may be as a major 20th-century composer. To grasp some sense of his growing importance, consider the fact that his entire body of work has been acquired by the Library of Congress. This is not only a first for jazz, but also for an African-American composer. At this death he left behind more than 100 albums and over 300 compositions — music that is still considered far ahead of its time. In the field of jazz, his is the largest legacy of composition in American music after Duke Ellington.
To think of Mingus as a jazz musician is correct — at least to a certain degree, but the term should be understood in its broadest sense. He was influenced by composers of many different stripes, and it wouldn’t be hard to find passages with as much kinship to Debussy as to gospel and blues. Imagine hearing jazz performed by bassoon, flute, bass clarinet and horn, and you begin to get the subtlety of this composer. Yes, of course, the saxophones, brass and rhythm sections are there too, but this is music that surprises at every turn. Listening beyond the instrumental colors takes us into a world whose treatment of harmony and time is truly unique. Mingus can easily shift between an almost stately blues pace to a double time passage that could have belonged to bebop, and just as fluently, he can take us back out of that hectic rate to his original pace without the least amount of discomfort to the listener. His chord changes are advanced, unpredictable and yet entirely “right” to the ear. To improvise in Mingus is to reach well beyond the tonal palette of traditional “changes”. His is a truly original voice.
I know very little about music, but I’ve loved almost every Mingus piece I’ve heard. He quickly became one of my favourite jazz performers.
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February 29, 2012
“Taken together, the [Canadian] music industry demands make SOPA look like some minor tinkering with the law”
Michael Geist on the representatives of the Canadian music industry and their breathtaking demands for modifications to Bill C-11:
The steady procession of Canadian music industry representatives to the Bill C-11 committee continues today with the Canadian Independent Music Association (CIMA) ready to add to an already long list of industry demands to completely overhaul the bill. The music industry demands keep growing, but CIMA’s list is the most radical to date as it would create liability risk for social networking sites, search engines, blogging platforms, video sites, aggregators, and many other websites featuring third party contributions. If that were not enough, the industry is also calling for a new iPod tax, an extension in the term of copyright, a removal of protections for user generated content, parody, and satire, as well as an increase in statutory damage awards. Taken together, the music industry demands make SOPA look like some minor tinkering with the law.
Note that industry had already called for SOPA-style reforms such as website blocking and expanded liability that could extend to sites such as YouTube before the hearings began. This week has seen an industry lawyer inaccurately portray global approaches to digital lock rules and a musician association demand full statutory damages of up to $20,000 per infringement for non-commercial infringements by individuals.
Those demands are nothing compared to what CIMA has in mind, however. Topping the list is a massive expansion of the enabler provision. The music industry wants to remove a requirement that the so-called pirate sites be “designed primarily” to enable copyright infringement.
[. . .]
There is virtually no limit to prima facie liability under this provision as most sites can be said to enable some infringement, particularly if they allow for users to post or interact with the site. This includes sites like Google, Facebook, Reddit, and Youtube. All of these sites — indeed virtually any blogging platform, social network, search engine, or website that offers third party contributions — would face the risk of a prima facie claim under the music industry’s vision of the enabler provision.
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February 27, 2012
Goodbye and good riddance to the architect of “Canadian Content” media rules
Marni Soupcoff on the lasting legacy of former CRTC head Pierre Juneau, the mandatory “CanCon” ratio for TV and radio:
Former CBC and CRTC president Pierre Juneau died last week at the age of 89, and the requisite obituaries followed. Almost all of them congratulated Mr. Juneau on his most well-known achievement: having mandated minimum standards for Canadian content on radio and television. It is an unfortunate legacy.
The troubles with CanCon requirements are both moral and practical: It is not simply wrong to try to forcibly engineer a population’s taste in music in television. It is also impossible. People like what they like, and if what they like is Canadian, they will watch and listen to it even absent rules dictating that they must. If what they like isn’t Canadian, rules saturating the airwaves with all the Loverboy ditties in the world won’t make them tune in.
So even if you aren’t bothered by CanCon rules’ violation of freedom of expression, you should at least ask yourself how effective the regulations can possibly be — especially today. More and more people are selecting their music and television shows on their own, now, picking an episode from iTunes here, a free song download from a band’s webpage there. The idea that the nation’s culture can be shaped by mandating the nationality of prime-time content on TV networks and radio stations is as antiquated as it was flawed to start with. And we’re wasting money and time by continuing to force media outlets to comply.
And yes, my Cancon blog category is a backhand at the longstanding regulation.
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February 23, 2012
Reason.tv: Months later, still no charges in the Gibson Guitar raid
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Michael Geist on why Canada should not appear in the US piracy watchlist
You’d think, as Canada ranks 13th in the world for strength of intellectual property protection (much higher than the US at 24th spot), there’d be no question that Canada should not be considered as a “piracy haven”. But you’d be wrong:
In what has become an annual rite of spring, each April the U.S. government releases its Special 301 report — often referred to as the Piracy Watch List — which claims to identify countries with sub-standard intellectual property laws. Canada has appeared on this list for many years alongside dozens of countries. In fact, over 70% of the world’s population is placed on the list and most African countries are not even considered for inclusion.
While the Canadian government has consistently rejected the U.S. list because it “basically lacks reliable and objective analysis”, this year I teamed up with Public Knowledge to try to provide the U.S. Trade Representative Office with something a bit more reliable and objective. Public Knowledge will appear at a USTR hearing on Special 301 today. In addition, last week we participated in meetings at the U.S. Department of Commerce and USTR to defend current Canadian copyright law and the proposed reforms.
The full submission on Canadian copyright is available here. It focuses on four main issues: how Canadian law provides adequate and effective protection, how enforcement is stronger than often claimed, why Canada is not a piracy haven, and why Bill C-11 does not harm the interests of rights holders (critics of Bill C-11 digital lock rules will likely think this is self-evident).
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