This video demonstrates to a more advanced level how you can enter a destination and optimise the route for your benefit on CoPilot Live 8. 

This includes changing the driving views, the type of roads and the speed limit warnings in place.

CULTUREBOT.COM INTERVIEW

Name: Patrick Grant
Title: Composer/Performer/Producer
Affiliation: Curator & Co-Producer of “The MMiX Festival of Interactive Music Technology”

1. Where did you grow up and how did you end up where you are now?

I grew up in Detroit where I studied music composition and classical performance by day while playing in Punk/New Wave bands by night. I read about the loft and gallery concert scene in 1970s NYC and that sounded more preferable to me than LA. It was artsier and I wouldn’t need to have a car. When I moved here in the late 80s that scene had played and wasn’t to return in a new form for a while. I quit the band I moved out here with found work writing and performing music for downtown theater groups and assisting well-known composers like John Cage. It was experiences like that that taught me more about making a living as an artist than the Juilliard education I never completed and even so, as they say, only in New York.

2. What do you look for when you’re seeking out new work?

I fell into the role of curator-by-proxy through various self-produced concert series. Early on, I sought to fill the void that was left when the loft and gallery concerts that brought me to NYC had (temporarily) fallen out of vogue in the late 80s and early 90s. My association with theater music always meant that I at least had a space to work and to do concerts. The same was true when I expanded into Chelsea galleries in 2000. Being in spaces such as these creates circumstances which are “extra-musical” so care is given to selecting artists which are a compliment to and an augmentation of the hosting venue’s creative discipline. Ultimately, it is really about audience and community building. Being a composer and performer myself I would naturally pick artists whose work I admired and wished to collaborate with. That’s how I get to meet people. That’s my microcosm. The macrocosm is in introducing artists, performers, and audience members to each other who might not normally cross each other’s path. When I see further collaborations being made as a result of these events, I consider that a great success. That’s something we all benefit from well beyond the scope of the seeds that were planted.

3. What was your most remarkable moment as a curator/presenter/producer?

I may be speaking out of turn here but so far it’s been the upcoming MMiX Festival of Interactive Music Technology on Oct. 8-11 at Theaterlab. Truly, and I can back that up. At the beginning, I envisioned it taking place at the same time as the Audio Engineering Society’s annual convention in NYC. If you’re into audio and musical gear, that’s a big deal. Deciding to have the festival then quickly gained us the support of interactive software leaders Ableton and Cycling ’74 (makes of Live 8 and Max/MSP/Jitter respectively). This in turn brought us some of the best and most diverse performers in that field. The idea of having something bigger than the festival itself to tap into has been very powerful. It’s given me the power to call up complete strangers, some of them very well known, and get them to come onboard. I couldn’t see myself doing that a couple of years ago and that, for me, is remarkable.

4. Which performance, song, play, movie, painting or other work of art had the biggest influence on you and why?

Anyone who knows me knows that I always cite Stanley Kubrick’s 1971 film “A Clockwork Orange.” That may sound strange but let me explain. ACO was originally released as Rated-X by the incipient rating system (along with “Midnight Cowboy” and “Last Tango in Paris” due to their adult themes) and was re-released in 1974 reduced to an R-rating. The porn industry had made a joke of the X-rating by saying, “Well then, we’re XXX,” so it became meaningless. So, with an R-rating, ACO was able to air television commercials. I was eleven at that time. One day I heard it on the TV: The “Glorious 9th Symphony by Ludwig Van” but, as we know, being “performed” by Wendy (née Walter) Carlos on the Moog synthesizer. I didn’t know then what the music was or what was making those strange sounds. It was to be the very first LP that I ever bought for myself. Coming home from the store, I was reading the back of the album (who were these guys with the foreign names?) and couldn’t figure out which track I had heard on TV. I dropped that needle everywhere on the disc, but could not find it. What was up with all this classical stuff? I thought that was only used for goofing around in Warner Bros. cartoons! I noticed that one of the tracks looked a bit different in the middle, a darker color due to less activity in the grooves. I cued up that spot, and there it was: the march section of the 9th’s choral movement. It rocked my 11 year-old world, or as the Moog tagline ran at the time, I was instantly “switched-on.”

Why? It enabled me to listen to music stripped of fashion, the opposite of popular music (which I love too). It led to the original book by Anthony Burgess and got me literate beyond my years, leading to Vonnegut, Brautigan and others at an early age. Mostly, it’s a story about the choice between good and evil, and our free will to choose, motifs which stick with me to this day and inform just about everything I’m interested in, one way or another. Or at least I can explain it that way. Even with my guilty pleasures! ACO was my gateway drug.

5. What skill, talent or attribute do you most wish you had and why?

Absolutely it would be the ability to be a convincing and charismatic public orator. Presently, I feel that I could do a lot better in that department. The thought are there but something gets lost when I convert them into words let alone how those words get expressed. After being surrounded by actors, poets and other performers all these years you’d think I’d have learned something. It’s been slow going but I believe there’s still hope! Countless times I’ve let myself get bullied into situations just because somebody had a better gift of gab when, deep in my gut, I felt it wasn’t right. I had to defer to the power of the word only to regret it down the road. I’ve learned to trust my intuition more and more often these days, even if words still fail. Yet, if I had that skill, I may not have become the person I am. Maybe I’d be someone who’s better at talking about what they’re going to do than just doing it. I hope not.

- Patrick Grant (reposted frm Culturebot)

The following video gives a brief tour of the menus available in ALK’s CoPilot Live 8 GPS solution for smartphones.

The MMiX FESTIVAL of Interactive Music Technology
October 8-11, 2009 at Theaterlab
137 W 14th Street, New York City
(212) 929-2545
http://www.theaterlabnyc.com

Tickets: $20 / $15 students & seniors
Available online at: https://www.ovationtix.com/trs/cal/28175

SCHEDULE OF EVENTS & PERFORMANCES:

6:00-7:45 PM Thursday through Saturday
Free and open to the public in Studio C
Interactive sound installations by
Chronotronic Wonder Transducer
led by sound inventor Steven Litt

THU OCT 08
8:00 PM – Performance
Bora Yoon +
Luke DuBois +
Todd Reynolds +

FRI OCT 09
6:30 PM – Free Event – Ableton LIVE 8
Demo/workshop by DubSpot NYC
led by Chris Petti
8:00 PM – Performance
Dan Trueman and his Mini Laptop Orchestra
Jon Margulies / Hobotech
Joshua Fried / Radio Wonderland

SAT OCT 10
6:30 PM – Free Event – Ableton & Cycling ‘74 present: MAX for LIVE
with Todd Reynolds & Luke DuBois
8:00 PM – Performance
Patrick Grant Group
Kathleen Supove / Exploding Piano
Elliott Sharp / Janene Higgins

SUN OCT 11
6:30 PM – Performance
Chronotronic Wonder Transducer
Ben Neill & Bill Jones
DJ Rekha / Basement Bangra

PLUS product giveaways of Ableton LIVE 8 and Cycling ’74’s MAX 5

* * * * * * *

The MMiX Festival of Interactive Music Technology is produced by Theaterlab, radio producer Jocelyn Gonzales, and curated by composer/performer Patrick Grant.

All events take place in the studios of Theaterlab which is located at 137 West 14th St., between 6th and 7th Ave., New York City. For more information (ticket info, directions, etc.) visit Theaterlab’s web site at http://www.theaterlabnyc.com.

Software and laptop improvements present new possibilities for composer/performers to create complex soundscapes in real-time during live performance. The focus of the festival is to demonstrate that these emerging audio technologies are instrumental in new artistic creations, and to inform the public regarding the current state of this art form. The artists presented in MMiX have set a new bar in that discourse and will provide live performances, media installations and workshops.

Ableton, creators of LIVE 8 and Cycling ‘74, creators of Max/MSP/Jitter are primary sponsors of the festival with additional support by DubSpot NYC and Eventide.

Media sponsorship for the festival is generously provided by WNYC 93.9 FM and 820 AM, New York City listener supported radio.

Pink Floyd tak mocno zawładnęli świadomością ludzi, że dzisiaj – kiedy ich nie ma – bo być nie może (wszak Rick Wright a nawet Syd Barrett już są po drugiej stronie) – nadal chcemy ich słuchać i oglądać. Sprytnie dajemy się oszukiwać, chcemy wierzyć, że to oryginalny produkt. Faktycznie jakości tejże podróbki można APFS pogratulować. Chłopaki są przygotowani w każdym calu, zarówno muzycznie jak i wizualnie. Umieją grać, oprawa też niczego sobie, ba, Pink Floyd na swoim ostatnim mini-koncercie “Live 8″ nie mieli tylu świateł, nie mieli takiej sceny. Ale… no właśnie. Jak to zgrabnie określił J. Davis z Korna, zobaczyć Pink Floyd w oryginalnym składzie to przeżycie niemal religijne. I tak było. Bo tej magii 4 osób na scenie, TYCH właśnie osób, nie da się podrobić, nawet chińczykom.

Dlatego trudno mi zrozumieć ludzi, którzy tak tłumie będą zdążać na koncerty APFL. Bo będą, jak zwykle. Bilety się rozejdą, kilkutysięczne tłumy w paru miastach w Polsce będą przeżywać muzykę Pink Floyd w wykonaniu tego specyficznego tribute bandu. A że sam Gilmour David pobłogosławił projekt, czują się chłopaki legitymizowani z samej góry. Ale najbardziej w tym całym zamieszaniu dziwne jest to, że kiedy Roger Waters, ten Roger Waters(!) – koncertował w Warszawie (2002), nie mógł liczyć na taką publikę jak Australian Pink Floyd Show! To sytuacja nienormalna, schizofreniczna. Kopia wyprzedziła mistrza. Chińskie cichobiegi wyprzedziły parę butów sportowych.

Tego nigdy nie zrozumiem, dlatego omijam ten smutny konkurs karaoke dużym łukiem. Bo zdecydowanie wolę oryginał. I dlatego zamieszczam filmik z YouTube, z koncertu “Live 8″. Ostatni koncert Pink Floyd, koniec!

PS – ZDECYDOWANIE bardziej polecam Blue Floyd, twórcze podejście do muzyki PF. Jeszcze o tym napiszę.

Thanks to everyone who joined us for the Pre-MMiX Party at Theaterlab last night! Brilliant vibes, wonderful people, cool new music…and mojitos!

More photos after the tag…but we’ll have video from this event soon!

———————————————————————————————————————————————————————————————————————————

MMiX Curator, Patrick Grant sets up Ableton Live 8 software on the laptop.

———————————————————————————————————————————————————————————————————————————

Patrick's MIDI controllers.

———————————————————————————————————————————————————————————————————————————

Kathy Supove...well, her back anyway.

———————————————————————————————————————————————————————————————————————————

Kathy takes a bow.

———————————————————————————————————————————————————————————————————————————

Patrick on laptop, keyboard, Akai APC-40 Ableton controller and Les Paul electric guitar.

———————————————————————————————————————————————————————————————————————————

Patrick's Ableton session.

———————————————————————————————————————————————————————————————————————————

Theaterlab Co-Artistic Director, Carlo Altomare

———————————————————————————————————————————————————————————————————————————

Kathy Supove explaining how fitness info-mercials inspired her next number by Jacob TV.

———————————————————————————————————————————————————————————————————————————

Elan Vytal (DJ Scientific) and String Theory (Matt Szemela)

———————————————————————————————————————————————————————————————————————————

Elan Vytal

———————————————————————————————————————————————————————————————————————————

Elan and Matt at the end of the set.

———————————————————————————————————————————————————————————————————————————

Patrick Grant talks about the MMiX Festival coming up in October 2009.

Podem falar mal do U2, mas eu queria estar lá.

CoPilot Live has to be one of the most sought after and respected GPS solutions for mobile devices, predominantly for the Windows Mobile and Symbian OS.

Packed with features and supporting a much greater range of devices than the new TomTom Navigator 7, CoPilot is a safe, popular and very reliable choice.

Version 7 has been available for about 18 months and it was only a matter of time before 8 became available with new features.

Today we can bring images of what is to be the new and improved interface of CoPilot Live 8.

Full features, compatibility, availability and pricing is to be confirmed but a release is due very soon and price is expected to be very competitive.

The experience with Live 8 is set to be much more PND like with clearer and more configurable screen layouts and maps, not to mention improved live services.

Check out the screen shots below.  We think you will agree that it looks pretty impressive. You can click the images to enlarge them.

SOURCE: GPS Daily

O meu calendário da revista Classic Rock lembra que há exatos 4 anos o Pink Floyd se reuniu para o megafestival Live 8. Em 2 de julho de 2005, Waters, Gilmour, Mason e Wrigth fizeram o primeiro show juntos desde 1981. O Live 8 teve palcos em diferentes países e objetivo era pedir o perdão da dívida externa dos países pobres ao G8 (7 países mais industrializados do mundo e Rússia). No Hyde Park, em Londres, o Pink Floyd tocou Speak to Me/Breathe, Money, Wish You Were Here e Comfortably Numb. Todas presentes na caixa com 4 DVDs do festival. Esse box set ainda tem apresentações como McCartney e U2 (juntos e separados), mais Coldplay, Elton John, REM, UB40, Madonna, Sting, Roxy Music, Stevie Wonder, James Brown, The Who, Bob Geldof, claro, e muitos outros. A morte do tecladista Richard Wright, em 2008, acabou com as especulações sobre volta da formação tradicional do Floyd.

Ableton Live 8 - klick -

Die Firma Ableton startet mit einem besonderen Angebot in den Sommer. Jeder Kunde, der Ableton Live 8 vor dem 31. August 2009 erwirbt, erhält Sampler, Abletons vielseitiges Software-Instrument, im Wert von 99 EUR, kostenlos dazu.

Sampler kombiniert traditionelles Sampling mit umfangreichen Funktionen für erstklassiges Sounddesign. Obgleich perfekt geeignet für Multi-Gigabyte Instrument-Libraries, sind es Samplers Sound-Design Qualitäten, die das Instrument wirklich einzigartig machen. Sampler gibt Musikern und Produzenten präzise Kontrolle über jedes Detail bei der Sound-Gestaltung, indem er dynamische und komplexe Sounds, auch von einfachsten Audio-Quellen, erzeugt.

Das neue Video “Making sounds with Sampler” zeigt, wie Sampler einen einzigen Klavierton in einen organischen, modulierenden Bass Synthesizer umwandelt. Video-Download hier.

Gratis Audio-Paket für Sampler: Samplification

Alle bestehenden und neuen Sampler-User erhalten außerdem ein kostenloses Samplification Live Pack inkl. Construction Kits, Live Sets mit Drum Clips, neuen Instrument-Racks, neuen Lessons und Sounds von Puremagnetik, Cycling ‘74 und Sonartes Sound Objects Lite Collection. Samplification gibt den Sampling-Fähigkeiten eines jeden Live-Users viele neue Möglichkeiten und zeigt, was Sampler tatsächlich kann.

Samplification ist hier erhältlich:

Samplification ist ein 450 MB Download, der bei der Installation 950 MB beansprucht. Samplification erfordert Sampler und Live 8.0.4 oder höher.

Bedingungen und Konditionen

Dieses Angebot gilt nur beim Kauf von Ableton Live 8. Es gilt nicht für Ableton Suite 8, da dieses Paket bereits Sampler enthält. Es ist außerdem bei Upgrades auf Ableton Live 8 von Ableton Live Lite Versionen und Ableton Live LE erhältlich. Dieses Angebot gilt nicht für Educational Versionen oder Upgrades von älteren Ableton Live Vollversionen. Das Angebot gilt vom 1. Juli bis 31. August 2009.

Live 8 Käufer erhalten Sampler gratis

Die Firma  Ableton startet mit einem besonderen Angebot in den Sommer. Jeder Kunde, der Ableton Live 8 vor dem 31. August 2009 erwirbt, erhält Sampler, Abletons vielseitiges Software-Instrument, im Wert von 99 EUR, kostenlos dazu.

Sampler kombiniert traditionelles Sampling mit umfangreichen Funktionen für erstklassiges Sounddesign. Obgleich perfekt geeignet für Multi-Gigabyte Instrument-Libraries, sind es Samplers Sound-Design Qualitäten, die das Instrument wirklich einzigartig machen. Sampler gibt Musikern und Produzenten präzise Kontrolle über jedes Detail bei der Sound-Gestaltung, indem er dynamische und komplexe Sounds, auch von einfachsten Audio-Quellen, erzeugt.

Das  neue Video “Making sounds with Sampler” zeigt, wie Sampler einen einzigen Klavierton in einen organischen, modulierenden Bass Synthesizer umwandelt. Video-Download auf: http://www.ableton.com/summer-of-sampler

Gratis Audio-Paket für Sampler: Samplification

Alle bestehenden und neuen Sampler-User erhalten außerdem ein kostenloses Samplification Live Pack inkl. Construction Kits, Live Sets mit Drum Clips, neuen Instrument-Racks, neuen Lessons und Sounds von Puremagnetik, Cycling ‘74 und Sonartes Sound Objects Lite Collection. Samplification gibt den Sampling-Fähigkeiten eines jeden Live-Users viele neue Möglichkeiten und zeigt, was Sampler tatsächlich kann.

Samplification ist hier erhältlich:

http://www.ableton.com/samplification

Samplification ist ein 450 MB Download, der bei der Installation 950 MB beansprucht. Samplification erfordert Sampler und Live 8.0.4 oder höher.

Bedingungen und Konditionen

Dieses Angebot gilt nur beim Kauf von Ableton Live 8. Es gilt nicht für Ableton Suite 8, da dieses Paket bereits Sampler enthält. Es ist außerdem bei Upgrades auf Ableton Live 8 von Ableton Live Lite Versionen und Ableton Live LE erhältlich. Dieses Angebot gilt nicht für Educational Versionen oder Upgrades von älteren Ableton Live Vollversionen. Das Angebot gilt vom 1. Juli bis 31. August 2009.

I discovered Dambisa Moyo’s Dead Aid in a bookstore while waiting for someone. Reading the back cover intrigued me. I didn’t buy the book, but I went to youtube and did some research about her. And I tell you, she is amazing. I am always intrigued by controversial people (who isn’t?) but who also make sense and put forward a convincing and rational argument.

I look up to her because she appears to be a very smart person, after listening to her interviews and her arguments inspite all the provocative questions interviewers pose to her.

I can relate to her because poverty is the biggest problem in my home country. And speaking of ‘aid’, I’ve always been interested and involved (not regularly active though) in such activities. I’ve never thought of it that way. She says aid is not the solution; that it shouldn’t be necessarily stopped, but instead improved. She also prescribed a five-year plan to reduce aid.

Basically, her main argument is that aid only makes people in that society complacent and corrupt; that aid is not a long -term but a short-term approach (which I have long thought about before and totally agree with). She says that people (especially in Africa) wouldn’t look to their leaders for solutions. They always have humanitarian aid, etc. to help them. Plus, things like Live 8 and other such organisations only perpetuate the tragedy in Africa, making it seem like the continent will forever be that way. This also pushes foreign investors away – who are very crucial in economic development and therefore in the betterment of the people’s standard of living in general.

In addition to how people are going to be complacent – she mentions that the people who get paid from such organisations are not really being paid for their hard work.

I’ve already heard some of these things before but never in a precise and convincing way. She has concrete examples and arguments altogether.

I see programmes on TFC (The Filipino Channel) on how to donate this and that to the needy, and then they show the victim, the victim’s parents, etc. I get so annoyed when I see such footages. What they show in media is always part of some bigger agenda, so obviously they simply want our money. I know people can be well-intentioned, but like what Dambiasa says, we should understand what’s more important; and what we do can serve only as a short-term solution. She says that if you send a child to school, yes she can finish school and graduate later on, but the economy in her country won’t necessarily provide her the job she needs.

Imagine if this “aid industry” declines, NGOs and many prominent people will lose jobs and purposes. But if we’re talking about having a purpose to help the underprivileged – there’s always a better solution, really. And we shouldn’t amplify their problems, which will only bring nothing but pity. The focus should be on the solution – the long term one.

Dambisa may have stabilised old notions – but we cannot ignore the beauty of it – she has given the people the opportunity to reflect on old solutions and make them better. That includes me.

While I’m still with the ‘aid industry’, I will take time to understand its flaws and see how they can be improved. Honestly speaking, I was a little scared to look at what Dambisa has to say in Dead Aid, but I don’t want to turn a blind eye and be ignorant forever. If she has scared me, I got her to thank.

AMAZING.

by the way, if anyone has an extra ticket to the pet shop boys show in vancouver, i’m dying to go and missed the buggery ticket sale.

also, why is there no studio version of this edit of the song. IT IS IMMENSE.

“We’d get these requests literally twenty-four hours a day. When Crosby, Stills, Nash & Young were touring America in 1974, I used to get notes slipped under my hotel room door in the middle of the night, sometimes at three or four in the morning. The notes were interchangeable, and they always went something like: ‘Dear Mr. Crosby, please forgive me for writing you this note but you are the only person who can help us. We need to raise a million dollars by next week to (feed the world, house the homeless, clothe the whales). Will you do a concert for us? And will you ask all your friends to do it with you? It’s only one night and it will make a huge difference to (the world, the homeless, the whales). Thanks in advance for saying yes’.”

So shares music legend David Crosby in his book Stand and Be Counted.

Not to be too terribly cynical, but who really benefits from benefit concerts? Are they more for publicity than the cause? Is the money raised actually going to get to the intended organization? Will it even make a difference if it does?

Or have incalculable strides been made out of public view, following such events? We mostly try to keep the reality of such causes out of our public view anyway, so how would we really notice if they were any different? And I’m talking about all of the causes: AIDS, nuclear weapons, global poverty, the environment, orphans, homeless, abused women, military veterans/families, world peace, etc.

Some of the most famous benefits through the years, followed by the cause and year: Monterey Pop Festival (MIPF Foundation, 1967), The Concert for Bangladesh (relief of refugees from East Pakistan, 1971), The No Nukes Concert (against the use of nuclear energy, 1979), The Secret Policeman’s Balls (Amnesty International, multiple dates), Farm Aid (family farmers in America, first in 1985), Live Aid (famine relief in Ethiopia, 1985), Live 8 (eradicate poverty in third-world countries, 2005). There are many, many more.

Following the 1971 Concert for Bangladesh (from the book Stand and Be Counted), legendary sitarist Ravi Shankar shared his thoughts about the assumed large amount of money raised, 

“…When you think of the amount being spent on almost eight million refugees, and so many of them children, of course it is like a drop in the ocean. Maybe it will take care of them for only two or three days. But that is not the point. The main issue – beyond the sum of money we can raise – is that we feel that all the young people who came to the concerts…they were made aware of something very few of them felt or knew clearly – about Bangla Desh and what has happened to cause such distress. It is like trying to ignite, trying to pass on the responsibilities as much as possible to everyone else. I think this aim has been achieved.”

That’s the positive and hopefully-realized impact.

The reality is this (also from Stand and Be Counted):

“…the Internal Revenue Service ruled that since the concerts had not been produced by a nonprofit entity, all proceeds were to be viewed as taxable under the law…The result was that it took an unbelievable eleven years for most of the money to reach UNICEF…A UNICEF study estimates that during those eleven years, more than eight million children of Bangladesh died of malnutrition and disease.”

I’m all for helping out, but unfortunately most problems are a few light years beyond the funds (potentially) raised by a group of “famous” musicians and/or celebrities. 

That doesn’t mean we shouldn’t try.

Hello Friends:

A most remarkable thing happened on May 11, 2009.

On that day, in The Alive with Clive TV Show MagEzine, I announced that I would be presenting The First Alive with Clive Top 20 Concert at Waltz-Astoria featuring three musical performers in The Alive with Clive Top 20.

The purpose of this concert is to continue to raise awareness about The Alive with Clive Top 20 and my goal to raise at least a billion dollars, for people suffering from AIDS in South Africa, from the sale of the Alive with Clive compilation CD (or a downloadable version) featuring a song from each musician who ends up in The Alive with Clive Top 20 on the day voting ends.

To see The Alive with Clive TV Show MagEzine dated May 11, 2009, click here.   And to see the Press Release announcing this concert, click here.

Through a remarkable coincidence, in a Press Release dated May 11, 2009, too, (RED) and Live Nation, the largest producer of live concerts in the world, announced that they are collaborating to link acclaimed artists, including Santigold, Gomez, O.A.R., Fall Out Boy, Lisa Hannigan, The Veronicas and The All-American Rejects, with their fans through the creation of (RED)NIGHTS, a series of 26 live concerts at select Live Nation clubs and theaters in the U.S. to raise money and awareness for the ultimate goal of eliminating AIDS in Africa.

As noted in their Press Release:

Bringing the (RED) experience to life in a new way, (RED)NIGHTS and the community of participating artists will come together to use great live music to raise awareness of (RED)’s primary objective – to help eliminate AIDS in Africa.  With each live show, (RED)NIGHTS hopes to inspire fans to participate in (RED)’s mission, highlight the many ways to get involved beyond the concert and encourage people to share the message and experience with others.  Ultimately, it is the goal of (RED)NIGHTS to build a community – of artists, concertgoers and music fans everywhere – that is passionate about helping to save lives in Africa.  A portion of the proceeds of each (RED)NIGHTS concert goes directly to the Global Fund (theglobalfund.org).

To see the entire Press Release in a pdf document, click here.

Skeptics may doubt that 26 concerts will do much good, but in my opinion this announcement by RED and Live Nation, which produces over 22,000 concerts for 1,600 artists in 33 countries a year, and sold over 50 million concert tickets and drove over 70 million unique visitors to LiveNation.com during 2008, represents a GIANT step in the fight to eliminate AIDS in Africa.

Here’s why:

When you look around and see the kinds of people who are able to generate massive support for different causes, you’ll realize that musicians who are famous have the power to create a major impact in a short amount of time.

Look back at major concert events in history:  Live Aid in 1985, Live 8 in 2005 and Live Earth in 2007, for example, were all made possible by the immense popularity of the musicians involved.

So, when you become aware of the forces involved here, it quickly becomes apparent that musicians more than any other group have the capacity to cause major enhancements in living conditions all over the world – if their power is harnessed in the right way.

I am therefore pleased to see the announcement about the (RED)NIGHTS concerts because it represents a manifestation that influential executives in the entertainment industry and philanthropic circles are beginning to deploy this power possessed by musicians to make a sustained and powerful difference in the world systematically and synergistically.

Here is the Press Release I have just issued about the (RED)NIGHTS series of concerts:

PRESS RELEASE

FOR IMMEDIATE RELEASE                                   

FOR FURTHER INFORMATION, CONTACT:  CLIVE SWERSKY  (914) 274-8280

* * * * * * * * * * * * * * *

Alive with Clive’s Clive Believes (RED)NIGHTS Live Nation Concerts Are A GIANT Step To Combat AIDS!

In a recent announcement, (RED) and Live Nation announced that 26 upcoming concerts will go (RED) to help combat AIDS in Africa.  Skeptics might be wondering how much good it will do to have 26 concerts go (RED).  But Clive Swersky, host and producer of Alive with Clive and creator of The Alive with Clive Top 20 believes that the announcement to have these concerts go (RED) represents a GIANT step on the road to the elimination of AIDS in Africa.

Last year, Clive announced his intention to raise at least a billion dollars for people suffering from AIDS in South Africa from the sale of a compilation CD (or a downloadable version) featuring songs of musicians he has interviewed on Alive with Clive who end up in The Alive with Clive Top 20 on the date voting ends, so he has been paying close attention to actions being taken by (RED) to eliminate AIDS in Africa.

“I commend the executives at (RED) for the innovative steps they are implementing — first with the creation of (RED)WIRE, their online digital music service, and now (RED)NIGHTS — to raise funds for the Global Fund To Fight AIDS, Tuberculosis and Malaria,” says Clive, “and I look forward to collaborating with them soon to realize my goal of raising at least a billion dollars for the Global Fund from the sale of the Alive with Clive compilation CD.”

Coincidentally, on May 11, 2009, the same day (RED) and Live Nation made their announcement about the (RED)NIGHTS series of concerts, Clive also announced that The First Alive with Clive Top 20 Concert – to raise awareness about The Alive with Clive Top 20 and his goal to raise at least a billion dollars from the sale of the Alive with Clive Top 20 compilation CD for people suffering from AIDS in South Africa — will take place at Waltz-Astoria on May 30, 2009, from 8 p.m. to 11 p.m.  

This concert will feature three musical performers from The Alive with Clive Top 20:  Anthony Melillo and The Melillo Brothers, Serotenen, and Jessica Labus.  Anthony Melillo, who recently released his debut CD, Just Gettin’ Started, has been at the top of The Alive with Clive Top 20 since it’s inception.  Serotonen is currently in sixth place and Jessica Labus is 11th.

More than 40 video clips of songs performed on Alive with Clive are available for viewing on The Alive with Clive TV Channel on YouTube at http://www.youtube.com/high5clive.  In addition, video clips of musicians who are currently in The Alive with Clive Top 20 can be seen on Clive Swersky’s Blog at http://cliveswersky.wordpress.com. 

Visitors to www.alivewithclive.tv who choose to subscribe to Clive’s Alive with Clive TV Show MagEzine or vote for their favorite musician or band to be in The Alive with Clive Top 20 are given instantaneous access to over ten of the most life-enriching bonuses available on the internet today, including The Science of Getting Rich by Wallace D. Wattles (the inspiration for The Secret); a four-part E-course and article by John Assaraf, co-author of The Answer and one of the commentators in The Secret; and Give To Live — The Real Secret To Manifesting Life’s Rewards, by Dr. Rick Barrett, which incorporates The Greatest Money Making Secret In History by Dr. Joe Vitale, another one of the commentators in The Secret.  

To see the most recently published Alive with Clive Top 20 Chart, go to http://alivewithclive.tv/inthetop20now.html.  And to vote for your favorite musician or band to be in The Alive with Clive Top 20, go to http://alivewithclive.tv/awctop20.html. 

Clive has published his thoughts about the (RED)NIGHTS Live Nation series of concerts in a recent blog post entitled “(RED)NIGHTS:  A Remarkable Coincidence!” at http://cliveswersky.wordpress.com.

To purchase tickets for The First Alive with Clive Top 20 Concert on May 30, 2009, at Waltz-Astoria, go to http://alivewithclive.tv/amsjlconcertposter.htm.

For more information about Alive with Clive, which is known as The TV Show That Inspires You To Multiply Your Magnificence! go to www.alivewithclive.tv.

# # #

To see this Press Release online, click here.

Like (RED), the (RED)NIGHTS concerts also represent another dynamic example of synergistic philanthrocapitalism^TM in action. 

For those of you who are not yet familiar with the term, synergistic philanthrocapitalism^TM, which I regard as “The exciting new way to do business so that everybody wins,” visit www.synergisticphilanthrocapitalism.com, the Web site I established where I explain the events leading up to the creation of this term.  I have also outlined my plan there to raise at least a billion dollars from the sale of the Alive with Clive compilation CD, which I submitted to Google as part of my application to win funding through Google’s Project 10¹⁰⁰.

If I were a musician in contention for a slot in The Alive with Clive Top 20, I’d be doing whatever I can to generate as many votes as possible on a daily basis because it’s highly likely that, due to these recent developments in efforts to combat AIDS in Africa, much more attention will be paid by music fans to musicians in contention for a slot in The Alive with Clive Top 20 in the weeks ahead.  And if you are a fan of any of the musicians in contention for a slot in The Alive with Clive Top 20 and you want to see the musician or band you support benefit from the increased attention that is likely to be bestowed on musicians in contention for a slot in The Alive with Clive Top 20, it would be a good idea to rally support among your friends for the musician or band you are supporting and organize votes to be cast on a daily basis for the musician or band.

Additional interest in musicians in contention for a slot in The Alive with Clive Top 20 will also be generated when the upcoming contest to find The Most Inspiring Song Sung On Alive with Clive So Far! gets underway soon.  Over the past few weeks, several of the songs that will be in this contest have been posted on this Blog and can all be found in one place in the archives on this Blog for “Inspiring Song Contest” under Categories.

To see the most recent published Alive with Clive Top 20 Chart, click here.

To vote for your favorite musician or band to be in The Alive with Clive Top 20, click here. 

To purchase tickets for The First Alive with Clive Top 20 Concert at Waltz-Astoria on May 30, 2009, click here.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Items 4U2 Multiply Your Magnificence!

Each one of the following links will give you access to a product, a service or information that has the potential to cause a dramatic boost to your income, your career, your business or your life:

http://tinyurl.com/dkqhaj

http://tinyurl.com/cf2kwz

http://tinyurl.com/oymptr

http://tinyurl.com/rdnztz

http://tinyurl.com/ohv5bx

http://tinyurl.com/cdc872

Why not click on all of them to allow your curiosity to be satisfied!

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Best regards.

Clive

(914) 274-8280

www.multiplyyourmagnificence.com

The world wants to experience the genius within you NOW!

www.alivewithclive.tv

The TV Show That Inspires You To Multiply Your Magnificence!

www.synergisticphilanthrocapitalism.com

The exciting new way to do business so that everybody wins!

http://www.youtube.com/high5clive

The Alive with Clive TV Channel on YouTube

http://www.twitter.com/high5clive

To follow Clive Swersky on Twitter

Very useful for djing..

From prime loops  “Here we go through some neat ways to automate clip playback in sequences. This is great for Live performances, DJ’ing, or recording tracks on the fly… Check it out!”

Ableton’s Live has been with us for some time now and since it’s initial release in 2001 it has proudly sported a simple one window interface and transparent ’no frills’ operation. This simplicity initially led some producers and musicians to believe it was perhaps a step down from other more complex DAWs, but seven years down the line Live has more than stood the test of time.

Many musicians, engineers and DJs have now adopted Live as their primary production or performance environment and Ableton is now onto an impressive eighth major release. Their constant development of the application is also relentless with version 8.01 of Live being released only weeks ago, which sees stability and workflow further improved.

Live has never been short of virtual instruments, hardware quality effects and cool production tools but each major release manages to expand this sequencer’s inventory, and version 8 is certainly no exception. With a brand-new virtual instrument, updates to the interface, new production tools, extra effects and even an expanded sample library, the folks at Ableton certainly aren’t running out of ideas.

How Suite it is

Live now comes in three different versions: Live LE (medium), Live (Large) and Ableton Suite (XL). Live LE is essentially a cut down version of Live for the entry level user or budget conscious beginner and is limited in some areas such as number of tracks and effects that can be used. Live and Ableton Suite are pretty much the same core application but the Suite contains a pretty large sample library (including the new Latin Percussion collection) and you will also get all ten virtual instruments that Ableton offers for the higher price tag.

Let’s take a look at the major changes and hear some audio examples of them in action to see if this new update is a step in the right direction…

…

Conclusion

“Although we possessed a remarkable ability to enrage and upset each other, while still maintaining a straight face, we never acquired the skill of talking to each other about important issues.”

So shares Pink Floyd drummer Nick Mason in his book, Inside Out: A Personal History of Pink Floyd.

Have you ever really thought about the lyrics to the song, “Wish You Were Here”? 

The song, written by Roger Waters, was originally written about estranged band member (and co-founder of the band) Syd Barrett. That in itself is a very sad and worthwhile point to explore. But over 30 years later, a specific section of the song lyrics now more appropriately apply to David Gilmour and Roger Waters. I’m not saying the other guys didn’t play a fault in the eventual demise of the band, but as David and Roger became the face of Pink Floyd, they arguably became the collective ego. And with that comes a large burden of potential-blame.

Since 1985, Roger Waters has officially not been a part of Pink Floyd.

In 2006, the four (post Syd Barrett) original members of Pink Floyd got on stage together to perform 4 songs at Live 8. Gilmour and Waters, together, sang the following lyrics from “Wish You Were Here.”

“We’re just two lost souls, swimming in a fish bowl, year after year /

Running over the same old ground, what have we found, the same old fears /

Wish you were here”

Old fears, like old habits, apparently die hard. Two men with phenomenal histories together in the music world have the same old fears, and either still can’t let them go, or simply don’t care enough to.

The Live 8 phrase that was across the top of the stage as Pink Floyd performed was: “NO MORE EXCUSES.”

That is irony.