Sound Recording – Q 2 U http://q-2-u.com/ Tue, 28 Jun 2022 14:03:27 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://q-2-u.com/wp-content/uploads/2021/10/q2u-icon-120x120.jpg Sound Recording – Q 2 U http://q-2-u.com/ 32 32 Vinyl Record Player Market Outlook 2022 and Growth by Top Key Players – Acoustic Signature, Kronos Audio, Clearaudio, LINN – Designer Women https://q-2-u.com/vinyl-record-player-market-outlook-2022-and-growth-by-top-key-players-acoustic-signature-kronos-audio-clearaudio-linn-designer-women/ Tue, 28 Jun 2022 13:11:47 +0000 https://q-2-u.com/vinyl-record-player-market-outlook-2022-and-growth-by-top-key-players-acoustic-signature-kronos-audio-clearaudio-linn-designer-women/ vinyl record player market A study by “Verified Market Reports” provides details on market dynamics affecting the Vinyl Record Players market, market scope, market segmentation, and overlays on major market players, highlighting the favorable competitive landscape and trends prevailing over the years. This Vinyl Record Players Market report provides details about recent new developments, trade […]]]>

vinyl record player market A study by “Verified Market Reports” provides details on market dynamics affecting the Vinyl Record Players market, market scope, market segmentation, and overlays on major market players, highlighting the favorable competitive landscape and trends prevailing over the years.

This Vinyl Record Players Market report provides details about recent new developments, trade regulations, import-export analysis, production analysis, value chain optimization, market share , the impact of domestic and localized market players, analyzes opportunities in terms of emerging revenue pockets, changes in market regulations, strategic market growth analysis, market size, category market growth, market niches applications and domains, product approvals, product launches, geographic expansions, technological innovations in the market. For more information on the Vinyl Record Player Market Data Bridge Market Research, please contact us for an Analyst Briefing,

Get a sample copy (including full TOC, charts and tables) of this report @ https://www.verifiedmarketreports.com/download-sample/?rid=108504

The analysis and estimations carried out through the outstanding Vinyl Record Players report helps to form an idea of ​​the product launches, future products, joint ventures, marketing strategy, developments, mergers and acquisitions and their effects on sales, marketing, promotions, revenue value, import, export and CAGR. With the latest and up-to-date market information mentioned in the report, companies can think about how to improve their marketing, promotion and sales strategies. Business reporting helps determine and optimize each stage of the business process lifecycle, which includes engagement, acquisition, retention, and monetization. The Vinyl Record Player Market Research Report

Key Players of Vinyl Record Player Market are:

  • Acoustic signature
  • Kronos-Audio
  • clearaudio
  • LINN
  • Yours Audio
  • IPV
  • AMG (Analog Manufaktur Germany)
  • JR Transrotor
  • Helius design
  • TechDAS
  • Acoustic signature

Global Vinyl Record Players Market Segmentation:

Vinyl Record Player Market Segment By Type:

  • 7 inch disc
  • 10 inch disc
  • 12 inch disc

Global Vinyl Record Players Market Segment By Application:

  • House
  • Coffee
  • Bar
  • Others

Regional Analysis of Vinyl Record Players Market can be represented as follows:

This part of the report assesses key regional and country-level markets on the basis of market size by type and application, key players, and market forecast.

On the basis of geography, the global market for, Vinyl Record Players has segmented as follows:

    • North America includes the United States, Canada and Mexico
    • Europe includes Germany, France, UK, Italy, Spain
    • South America includes Colombia, Argentina, Nigeria and Chile
    • Asia Pacific includes Japan, China, Korea, India, Saudi Arabia and Southeast Asia

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Scope of the Vinyl Record Players Market Report

ATTRIBUTES DETAILS
ESTIMATED YEAR 2022
YEAR OF REFERENCE 2021
FORECAST YEAR 2029
HISTORICAL YEAR 2020
UNITY Value (million USD/billion)
SECTORS COVERED Types, applications, end users, and more.
REPORT COVER Revenue Forecast, Business Ranking, Competitive Landscape, Growth Factors and Trends
BY REGION North America, Europe, Asia-Pacific, Latin America, Middle East and Africa
CUSTOMIZATION SCOPE Free report customization (equivalent to up to 4 analyst business days) with purchase. Added or changed country, region and segment scope.


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OCR Releases New Guidelines Applying Security Rule to Digital Voice Transmissions and Storage | Davis Wright Tremaine LLP https://q-2-u.com/ocr-releases-new-guidelines-applying-security-rule-to-digital-voice-transmissions-and-storage-davis-wright-tremaine-llp/ Mon, 27 Jun 2022 17:54:47 +0000 https://q-2-u.com/ocr-releases-new-guidelines-applying-security-rule-to-digital-voice-transmissions-and-storage-davis-wright-tremaine-llp/ On June 13, 2022, the Office of Civil Rights (OCR) of the U.S. Department of Health and Human Services announcement New tips on the use of remote communication technologies to provide audio-only telehealth services in accordance with HIPAA. While these guidelines are intended to encourage the use of telehealth, including audio-only telehealth for populations who […]]]>

On June 13, 2022, the Office of Civil Rights (OCR) of the U.S. Department of Health and Human Services announcement New tips on the use of remote communication technologies to provide audio-only telehealth services in accordance with HIPAA. While these guidelines are intended to encourage the use of telehealth, including audio-only telehealth for populations who may not have the resources to benefit from audio-video telehealth, they also include clarification that may have a substantial impact on the telecommunications industry.

Specifically, OCR distinguishes between how HIPAA applies to analog and digital voice communications, by applying the security rule to digital voice communications. This represents something of a departure from previous advice. Based on these guidelines, Covered Entities and Business Associates may wish to reassess how their HIPAA compliance programs apply to digital voice communications.

Earlier OCR Guide to Security Rule and Voice Data

While the HIPAA Privacy Rule applies to all forms of Protected Health Information (PHI), the Security Rule only applies to electronic Protected Health Information (ePHI), defined as protected health information that are transmitted or stored on electronic media. In turn, “electronic media” is defined with the following exception: “Certain transmissions, including paper, facsimile, and voice, telephone, are not considered electronic media transmissions if the information exchanged did not exist in electronic form immediately prior to transmission.”

This definitional quirk of electronic media has led to past OCR guidelines that generally exclude voice data from the scope of the security rule. For example, the 2003 preamble to the final safety rule states:

Photocopiers, fax machines and telephones, even those that contain memory and can produce multiple copies for multiple people, are not intended to be included in the term “computer”. Therefore, since “paper-to-paper” faxes, person-to-person telephone calls, video conference calls, or messages left on voicemail were not in electronic form prior to transmission, these activities are not covered. by this rule.

The OCR website includes the following long-standing elements FAQs:

Does the security rule apply to written and oral communications?

Answer:

No. The security rule standards and specifications are specific to electronic protected health information (e-PHI). It should be noted, however, that e-PHI also includes telephone voice response and fax return systems, as they can be used as input and output devices for electronic information systems. E-PHI does not include paper-to-paper faxes, video conference calls, or messages left on voicemail, as the information exchanged did not exist in electronic form prior to transmission. In contrast, the requirements of the confidentiality rule apply to all forms of PSR, including written and oral.

As a result, voice communications containing PSR have been subject to the Privacy Rule when handled by HIPAA-covered entities and business associates, including the Privacy Rule requirements for business associate agreements. (unless the conduit exception applies) and reasonable safeguards, but have historically been excluded from the more detailed security rule requirements governing administrative, physical, and technical safeguards to protect the confidentiality, integrity, and availability of ePHI.

We are not aware of previous OCR guidelines distinguishing between analog communications and digital communications technologies with respect to the applicability of security rules, although digital voice technologies such as voice over protocol Internet (VoIP) were widely used at the time. That apparently changed this month with new OCR guidance on HIPAA’s applicability to audio-only telehealth services.

New Telehealth Tips from OCR

In its audio-only advice on telehealth, OCR provided the following FAQ:

2. Do covered healthcare providers and health plans have to meet HIPAA security rule requirements in order to use remote communication technologies to provide audio-only telehealth services?

Yes, under certain circumstances. The HIPAA security rule applies to electronic protected health information (ePHI), which is PHI transmitted or stored in electronic media.

The HIPAA Security Rule does not apply to audio-only telehealth services provided by a Covered Entity that uses a standard telephone line, often described as a traditional landline, because the information transmitted is not electronic. Therefore, a covered entity does not need to apply security rule safeguards to the telehealth services it provides using these traditional landlines (regardless of the type of telephone technology that the person used).

However, traditional landlines are rapidly being replaced by electronic communication technologies such as Voice over Internet Protocol (VoIP) and mobile technologies that use electronic media, such as the Internet, intranets and extranets, cellular and Wi-Fi. The HIPAA Security Rule applies when a Covered Entity uses these electronic communication technologies. Covered Entities using telephone systems that transmit ePHI must apply HIPAA security measures to such technologies. Note that a person receiving telehealth services can use any phone system they choose and is not bound by HIPAA rules when doing so. Further, a Covered Entity is not responsible for the privacy or security of individuals’ health information once it is received by the individual’s phone or other device.

For example, some current electronic technologies that covered entities used for remote communications requiring compliance with the security rule may include:

  • Communication applications (apps) on a smartphone or other computing device.

  • VoIP technology.

  • Technologies that electronically record or transcribe a telehealth session.

  • Messaging services that electronically store audio messages.

Potential risks and vulnerabilities to the confidentiality, integrity and availability of ePHI when using these technologies should be identified, assessed and addressed as part of a company’s risk analysis and management processes. Covered Entity, as required by the HIPAA Security Rule. The risk analysis and risk management of a covered entity must take into account the following elements:

  • There is a risk that the transmission will be intercepted by an unauthorized third party.

  • Remote communication technology (eg, mobile device, app) supports encrypted transmissions.

  • There is a risk that ePHI created or stored as a result of a telehealth session (for example, session recordings or transcripts) may be accessed by an unauthorized third party, and if encryption is available to secure the recordings or Transcripts of telehealth sessions created or stored.

  • Authentication is required to access the device or application where the telehealth session ePHIs may be stored.

  • The device or application automatically ends the session or locks itself after a period of inactivity.

As communications technologies (e.g., networks, devices, applications) continue to evolve at a rapid pace, a robust asset inventory and management process can help Covered Entities identify these technologies and information systems that use them, to ensure accurate and thorough risk assessment. analysis. For more information on implementing HIPAA security policy requirements, see the OCR Security Policy Guidance webpage.

The new OCR guidelines, which represent the agency’s interpretation but do not have the force of law, contravene previous guidelines and extend the scope of the security rule to digital voice communications. This change does not appear to be related to a change in technology – voice over IP and digitally recorded and stored voice messages were well established when the security rule was finalized in 2003. Rather, this change appears to be a change in interpretation of the security rules. Given that the regulations themselves are unchanged, the basis for this change in interpretation is unclear, although the OCR says the guidelines “will help ensure individuals can continue to benefit from audio-only telehealth.” by: clarifying how covered entities can provide telehealth services; and improve public confidence that Covered Entities protect the privacy and security of their health information. »

Impacts of the new orientation

First, it is always helpful to remember that the original commentary and these new guidelines represent OCR’s interpretation of its rules and may not be given full deference in court. But if a covered entity chooses to comply with these guidelines, it may want to verify that its most recent HIPAA risk analysis fully addresses transmitted and stored digital voice communications, that its information security policies and procedures address such ePHI, and that there are appropriate controls in place (eg, reasonable access authentication) around such data.

For business associates, particularly those providing telecommunications services, the impact may be greater. To the extent that a business associate transmits only digital voice communications, the conduit exception may still apply. But if a business associate stores digital voice data containing PHI, they could previously consider that data not to be ePHI and only the confidentiality rule applied to it. A Covered Entity was required to have a Business Associate Agreement (BAA) in place and the Business Associate was required to use reasonable safeguards in accordance with the BAA, but was not required to maintain a security compliance program. If a business associate storing digital voice data with PHI chooses to follow the new OCR guidelines, then they will need to treat that data as ePHI and establish a robust security rules program applicable to the stored data. Such an undertaking would involve a significant undertaking, including a comprehensive risk analysis and detailed policies and procedures, among other requirements.

We recognize that many organizations were previously unaware of the security rule guidelines and voice transmissions and have long treated this data as subject to the security rule. But for those who relied on previous advice to exclude voice communication PHI from the security rule, now is a good time to reevaluate your position.

[View source.]


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Sydney McLaughlin does it again and breaks her own world record https://q-2-u.com/sydney-mclaughlin-does-it-again-and-breaks-her-own-world-record/ Sun, 26 Jun 2022 20:34:53 +0000 https://q-2-u.com/sydney-mclaughlin-does-it-again-and-breaks-her-own-world-record/ EUGENE, Ore. (AP) — Olympic champion Sydney McLaughlin broke her own world record in the 400-meter hurdles Saturday at the U.S. Outdoor Track and Field Championships. McLaughlin flashed a broad smile when his time was announced, then gave a thumbs up. She crossed the finish line at Hayward Field in 51.41 seconds, beating her own […]]]>

EUGENE, Ore. (AP) — Olympic champion Sydney McLaughlin broke her own world record in the 400-meter hurdles Saturday at the U.S. Outdoor Track and Field Championships.

McLaughlin flashed a broad smile when his time was announced, then gave a thumbs up. She crossed the finish line at Hayward Field in 51.41 seconds, beating her own record of 51.46 set last year at the Tokyo Games, where she won the gold medal.

“I mean, it’s Track Town USA, what are you waiting for? she said then. “Every time I come here, I feel like something amazing is going to happen.”

When asked how she was going to celebrate next, McLaughlin joked, “Eating real food in addition to vegetables. Like a cheeseburger or something, pancakes.

The top three finishers in each event at the Nationals will represent the United States at the World Outdoor Championships, also at Eugene’s Hayward Field, next month. This is the first time that the biggest athletics event outside of the Olympics will be held on American soil.

Dalilah Muhammad did not participate in the race due to a minor injury, but she has already qualified for the world championships as the defending champion of the event. McLaughlin will also be joined on the US team by runner-up Britton Wilson and third Shamier Little.

Allyson Felix, the most decorated woman in track history, finished sixth in the 400m, in what was her final national championship race.

Felix, who announced in April that this would be his final season, is enjoying the final days of his illustrious career, which includes 11 Olympic medals. She plans to run her last official race in her hometown of Los Angeles in August. Despite his arrival, Felix should be part of the mixed relay team at the world championships.

NCAA champion Talitha Diggs of Florida won the 400 in 50.22 seconds.

“It was a big field. So I just wanted to make sure to maintain my form, engage my core and just push,” Diggs said.

When asked if she was disappointed with the finish, Felix laughed.

“Honestly no. You know the 400 is hard for me. It’s not my natural passion, it’s always been something I challenged myself with,” she said.

Michael Norman ran the men’s 400m in 43.56, a world record. He finished first at the Olympic trials last year and placed fifth in Tokyo.

World record holder Keni Harrison won the women’s 100m hurdles in 12:34.

Temperatures at Hayward Field on the University of Oregon campus reached 90 degrees. Sunday’s events, the last day of competition, were moved earlier in the day due to the heat.

Sprinter Sha’Carri Richardson qualified for Sunday’s 200m final by finishing second in her heat.

Richardson, known for her ever-changing hair color and long fingernails, did not qualify for the 100m final, despite being among the favorites after winning the event at the Olympic trials last year. Richardson did not make the U.S. team for Tokyo after testing positive for marijuana after the race.

Richardson’s run was marred by several late scratches, but she finished in 22.69 seconds. Kentucky’s Abby Steiner, who set a collegiate record in the 200 yards at the NCAA track and field championships, clocked the fastest heats time at 22.14.

American record holder Kara Winger won the javelin with a throw of 210 feet 10 inches, her ninth career national title in the event. Sinclaire Johnson, 2019 NCAA champion, won the 1,500m in 4:03.29. Keturah Orji set a meet record in the triple jump at 48-6 1/4.

On the men’s side, Cooper Teare finished first in 3:45.86. Teare is also entered in the 5,000m on Sunday, the final day of competition. Olympic silver medalist Chris Nilsen won the pole vault. Hillary Bor won the steeplechase by such a wide margin that he pointed to the stands in celebration. Daniel Haugh won the hammer title.


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Valorant will record voice chat to prevent disruptive behavior https://q-2-u.com/valorant-will-record-voice-chat-to-prevent-disruptive-behavior/ Sat, 25 Jun 2022 18:00:54 +0000 https://q-2-u.com/valorant-will-record-voice-chat-to-prevent-disruptive-behavior/ Riot Games has set July 13 as the date it will start recording voice chat in Valorant, so when reports of disruptive behavior are made, there will be audio the developers can use as evidence. Like almost every major multiplayer video game, Valorant has had issues with in-game toxicity. Many players are not only rude […]]]>

Riot Games has set July 13 as the date it will start recording voice chat in Valorant, so when reports of disruptive behavior are made, there will be audio the developers can use as evidence.

Like almost every major multiplayer video game, Valorant has had issues with in-game toxicity. Many players are not only rude to each other, but sometimes escalate into identity-based harassment. Riot hopes this new system will help eradicate this behavior.

It’s important to note that this new feature will only record words spoken in English and will only be implemented in North America, at least initially. July 13 marks the start of Riot’s software testing phase, so any audio recordings will not be used for disciplinary action. This registration period will help Riot train its language models and ensure the technology behind the feature is up to snuff.

Riot Games amended Valorant’s terms of service and privacy notice to accommodate this voice recording feature last May, and have likely been working on the system ever since.

Riot Games says that after the testing period ends, it will release a beta that will fully implement this new addition. The dates of this beta have not yet been announced.



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“Licked Live in NYC” by the Rolling Stones, plus “Americana Railroad”, “Sounds of Summer” by the Beach Boys, “United Dreadlocks” and “Concert in the Barn” by Paul Winter – The Aquarian https://q-2-u.com/licked-live-in-nyc-by-the-rolling-stones-plus-americana-railroad-sounds-of-summer-by-the-beach-boys-united-dreadlocks-and-concert-in-the-barn-by-paul-winter-the-aquarian/ Fri, 24 Jun 2022 23:13:46 +0000 https://q-2-u.com/licked-live-in-nyc-by-the-rolling-stones-plus-americana-railroad-sounds-of-summer-by-the-beach-boys-united-dreadlocks-and-concert-in-the-barn-by-paul-winter-the-aquarian/ The Rolling Stones hit the Big Apple You may or may not consider the Rolling Stones the greatest rock and roll band in the world, but you have to agree that when it comes to mining the vaults, only a few other bands are in their league. Over the past few years we have seen […]]]>

The Rolling Stones hit the Big Apple

You may or may not consider the Rolling Stones the greatest rock and roll band in the world, but you have to agree that when it comes to mining the vaults, only a few other bands are in their league. Over the past few years we have seen the release of albums and DVDs/Blu-rays such as Sticky Fingers live at the Fonda Theater, Bridges to Bremen, Bridges to Buenos Aires, Live Steel Wheels, A Bigger Bang live on Copacabana Beachand, just a few weeks ago, El Mocambo 1977 – and that’s not including expanded anniversary editions of several older studio albums, a hits anthology and a collection of BBC studio recordings. And now we have Licked live in New York.

As a result of these releases, some super fans can now own, for example, at least 10 concert versions of “Brown Sugar” and “Honky Tonk Women”, plus nine live plays of “(I Can’t Get No) Satisfaction”. and 11 of “Jumpin’ Jack Flash”. You can’t always get what you want, but sometimes you might get a little more than you need.

That said, there are reasons to pick up Licked live in New York, which captures a 2003 performance at Madison Square Garden and is available on three LPs or as a two-CD set that you can purchase with or without an accompanying DVD or Blu-ray. First released in 2003 as an HBO special and as part of a package called four moviesthe concert was restored, remastered and expanded with previously unreleased performances of “Start Me Up”, “Tumbling Dice”, “Gimme Shelter”, and “Sympathy for the Devil”.

Like most of the rest of the schedule, these are all Stones concert staples. There are, however, a few less frequently performed numbers, such as “Thru and Thru”, “Don’t Stop” and let it bleed“Monkey Man” by , plus a reading of “Honky Tonk Women” with a guest appearance by Sheryl Crow. Other incentives to purchase the DVD or Blu-ray include three bonus tracks from a concert in Amsterdam, Holland (“Star Star”, “Street Fighting Man” and “I Just Want to Make Love to You” by Willie Dixon); some rehearsal sequences; and a loosely constructed but often entertaining nearly hour-long documentary on the 2003 tour. Although the Blu-ray is standard definition (not widescreen), its picture quality is excellent, as is its audio DTS-HD Master.

The band – deftly backed by such frequent Stones backers as keyboardist Chuck Leavell and saxophonist Bobby Keys – are in top form throughout.

Also note

various artists, American railroad. Bob Dylan once dedicated two entire episodes of his Theme Time Radio Time to railway tunes, but the shows have barely touched on this subject which has fascinated composers ever since there were songs and trains. You can hear why in this excellent 19-song anthology, which evokes the romance of the rails with a mix of obscure and well-known numbers that are delivered in a wide range of styles – from acoustic folk to country to hard rock. Carla Olson, whose last anthology project dates back to 2021 Ladies Sing Lightfootproduct.

Although the contestants include John Fogerty of Creedence Clearwater (who deliver an acoustic version of Steve Goodman’s “City of New Orleans”), the 74-minute set relies mostly on relatively unknown artists. AJ Haynes of Louisiana soul-rock band Seratones, for example, delivers a lilting rendition of Elizabeth Cotton’s “Freight Train,” while Olson and session musician Brian Ray deliver a jaw-dropping cover of Procol’s “Whiskey Train.” Harum. Junior Parker’s “Mystery Train” appears twice here, in rockabilly readings by Rocky Burnette (son of Johnny) and James Intveld. Other highlights include “Waiting for a Train” by Jimmie Rodgers, by Paul Burch featuring Fats Kaplin on dobro; and “Southwest Chief,” a new Dave Alvin number that references his friend Bill Morrisey, the late folksinger.

beach boys, Sounds of Summer: The Best of Beach Boys. Just in time for summer, the Beach Boys hit their 60se– celebrating the anniversary by offering a significantly expanded version of their 2003 hits collection, which includes new notes and photos. The three-CD set (also available on vinyl) contains 80 tracks, up from 30 on the previous edition. All the classic hits are here: “California Girls”, “I Get Around”, Don’t Worry, Baby, “Help Me, Rhonda” and “Wouldn’t It Be Nice”, to name a few – as are a variety of terrific deep cuts.

Music has never sounded so good: all 80 tracks have been remastered and 24 of them (including two that are stereo for the first time) feature new mixes that brighten up the sound and make its elements more distinct. Plus, the entire first disc (which includes most of these new mixes) features Dolby Atmos surround sound. You’ll need the right playback gear to appreciate the Atmos, but no matter how you listen, you’re bound to have what the band would call “Fun, Fun, Fun.”

various artists, United Dreadlocks, Volumes 1 and 2. This two-CD set, which adds 24 bonus tracks to two 1970s albums and includes extensive liner notes, chronicles some of the best work by influential roots reggae producers Joe Gibbs, Errol Thompson and Ossie Hibbert. The program includes material that draws inspiration from pop, rocksteady, ska and R&B and features many of the most talented Jamaican artists of the era – Gregory Isaacs, Dennis Brown, the Mighty Diamonds, Max Romeo, Junior Byles , Ethiopians and many more. .

The 44-track anthology features many previously unreleased tracks on CD and a generous number of greatest hits, including the UK’s No. 1 hit “Uptown Top Ranking” by Jamaican teenagers Althea Forrest and Donna Reid. When it comes to reggae anthologies, this package is almost as essential as Harder Than Hard: The History of Jamaican Music (which only duplicates one of its selections) and the classic soundtrack of The more they come.

Paul’s Winter Consort, Concert at the Barn. For a quarter of a century, jazz saxophonist Paul Winter and his bandmates have welcomed the summer solstice with a concert at New York’s Cathedral of St. John the Divine. But that venue was closed for performances during the pandemic, and COVID made it impossible for some of Winter’s regular companions to travel. It was then that he proved that his ability to improvise was not limited to his musical instrument. Winter decided to perform his 2021 solstice concert in a barn on his Connecticut estate and found capable replacements for the musicians who couldn’t fly.

The hour-long, mostly instrumental result, which was recorded from 4:30 a.m., is among the 82-year-old Winter’s best work. Highlights include “Icarus” and “The Silence of a Candle”, both by Ralph Towner, who first worked with Winter in the late 1960s before leaving to form Oregon; and three numbers by Brazilian composer Henrique Eisenmann, who plays piano on set. This soothing and uplifting concert deserves hearty applause, but you won’t hear any as the audience consisted of just two horses in a stable below the musicians.

Jeff Burger’s website, byjeffburger.com, contains five decades of music reviews, interviews and commentary. His books include Dylan on Dylan: Interviews and Encounters, Lennon on Lennon: Conversations with John Lennon, Leonard Cohen on Leonard Cohen: interviews and encountersand Springsteen on Springsteen: interviews, speeches and meetings.


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Porcupine Tree – Closing / Continuation: “another exceptional record” https://q-2-u.com/porcupine-tree-closing-continuation-another-exceptional-record/ Fri, 24 Jun 2022 10:18:53 +0000 https://q-2-u.com/porcupine-tree-closing-continuation-another-exceptional-record/ In a parallel universe, Steven Wilson’s tour for his UK Top 5 album The bites of the future went according to plan and his successful solo career continued according to the script, which did not feature a new Porcupine Tree album. This band apparently closed in 2010 after filming their 10th album The Incident. But […]]]>


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Japanese rockers Kikagaku Moyo: “Watching people get on a train is psychedelic!” | Psychedelic https://q-2-u.com/japanese-rockers-kikagaku-moyo-watching-people-get-on-a-train-is-psychedelic-psychedelic/ Thu, 23 Jun 2022 14:00:00 +0000 https://q-2-u.com/japanese-rockers-kikagaku-moyo-watching-people-get-on-a-train-is-psychedelic-psychedelic/ OWhen you think of psychedelic music, you think of the Jimi Hendrix Experience, the 13th Floor Elevators, the blurry images of Woodstock. But for Japanese group Kikagaku Moyo, psychedelia is exemplified by their nation’s counter-cultural heroes, Acid Mothers Temple with their cauldron of intense fuzz, and Flower Travellin’ Band. Go Kurosawa, the leader of Kikagaku […]]]>

OWhen you think of psychedelic music, you think of the Jimi Hendrix Experience, the 13th Floor Elevators, the blurry images of Woodstock. But for Japanese group Kikagaku Moyo, psychedelia is exemplified by their nation’s counter-cultural heroes, Acid Mothers Temple with their cauldron of intense fuzz, and Flower Travellin’ Band. Go Kurosawa, the leader of Kikagaku Moyo, also cites Tokyo today. “Music, cinema, culture, the freedom of not having to be technically perfect or restricted. Our psychedelia doesn’t come from the hippie scene, it’s in nature, it’s in the chants you hear at the temple. Watching people get on the train every day? It’s psychedelic.

The dynamic energy of a Kikagaku Moyo live show – a show in which the long-haired band members often digress into 10-minute jams – originates from Takadanobaba, a university neighborhood in Tokyo’s Shinjuku district in the early 1990s. 2010. Drifting between vintage shops, student-populated bars and recording studios open late into the night, the quintet formed and today, through almost levitating live performances and albums captivating, they are at the forefront of Japanese rock music. But after the release of their fifth album, Kumoyo Island, Kikagaku Moyo broke up, after an international farewell tour: an explicitly anti-American choice to avoid continuing, even diluting, what they had created.

Kurosawa and Tomo Katsurada first met in 2012. The name Kikagaku Moyo translates to geometric patterns. “We were playing so much from midnight to 6 a.m. that the moment we passed out, we saw these geometric patterns in our eyelids,” says Katsurada. Kurosawa’s younger brother Ryu returned from India after training on sitar, bassist Kotsu Guy and guitarist Daoud Popal joined soon after, with Kurosawa on drums and Katsurada on guitar, the two commercial vocals . Their early jam sessions were defined by the band’s varied tastes in old school hip-hop, metal, Indian classic, blues and more. Their inexperience kept the band free, their sound nebulous: ambient stoner rock with loops, retro-fuzz guitar and sweeping sitar.

Leader and drummer Go Kurosawa. Photography: Burak Çıngı/Redferns

On their second record Forest of Lost Children, which shifts from Semicircle’s unstudied jam to Kodama’s bluesy guitar, followed by feverish sitar in their cover of Ananda Shankar’s Streets of Calcutta and dark melancholy in White Moon, a motif emerged that Kikgaku Moyo would repeat with each subsequent album: Kurosowa’s drums kick off a crescendo that builds and then settles into a meditative ending.

“We don’t have a lot of lyrics because we want to give people the space to imagine their own journey with music. Every album is like a movie,” says Katsurada. Kumoyo Island feels like a solitary journey across a vast expanse. . “When I make music, I first try to create a playground for all five of us to play,” Kurosawa explains. “Adding words to it feels like a limit to that imagination.”

Kumoyo Island “is influenced by the experience of touring, car scenes and scenes, cultures that we have experienced,” Katsurada says. After performing in Japan and Europe, Kikagaku Moyo made his American debut in Berlin, a dimly lit hole in the wall in New York City, where the stage is a small platform just inches off the ground. I was present for this performance, standing so close to young Kurosawa’s sitar that I could touch it. Since then, venues have grown, but their drive to play, to expand riffs and solos beyond imagination, to lull audiences into a collective psyche, endures. On stage, they are hypnotic and funky, humorous and friendly, playing long solos to break your eardrums without hesitating to smile.

Once the album was finished, the decision to say goodbye came to the band, like their music, instinctively. “We achieved everything we wanted. We wanted to play psychedelic music festivals and tour the world, which we did. We’ve spent time and energy not only making music, but also creating art, merchandise, and a vision of what Kikagaku Moyo is all about. And we can now end our journey on our terms, on the highest possible note,” Kurosawa says.

Jamming… Kikagaku Moyo on stage, 2018.
Jamming… Kikagaku Moyo on stage, 2018. Photography: FilmMagic

The band are touring Europe this month – including Glastonbury – and then America, although their final show will be at home at the Fuji Rock Festival: A Full Circle. Katsurada and Kurosawa will return to their adopted base in Amsterdam, where they run Guruguru Brain, a record label committed to championing other esoteric acts. The band’s legacy remains inscribed, Katsurada says, in their “creative imperfection.” He concludes with a smile: “I hope that we will leave room for the younger generation to take over. It doesn’t matter their level of technical expertise or what part of the world they come from. I hope the message we conveyed is that it is possible for music to cross borders and language barriers.

Kikagaku Moyo performs on the West Holts Stage at Glastonbury Festival, at 11.30am on Saturday. They also play Earth, London, June 27


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James Rado, who co-created ‘Hair,’ dies at 90 https://q-2-u.com/james-rado-who-co-created-hair-dies-at-90/ Wed, 22 Jun 2022 17:47:38 +0000 https://q-2-u.com/james-rado-who-co-created-hair-dies-at-90/ Placeholder while loading article actions NEW YORK — James Rado, co-creator of the groundbreaking hippie musical “Hair,” which celebrated protest, pot and free love and pioneered the sound of rock on Broadway, has died. He was 90 years old. Rado died Tuesday night in New York from cardiorespiratory arrest, according to friend and publicist Merle […]]]>
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NEW YORK — James Rado, co-creator of the groundbreaking hippie musical “Hair,” which celebrated protest, pot and free love and pioneered the sound of rock on Broadway, has died. He was 90 years old.

Rado died Tuesday night in New York from cardiorespiratory arrest, according to friend and publicist Merle Frimark.

“Hair,” which has a story and lyrics by Rado and Gerome Ragni and music by Galt MacDermot, was Broadway’s first rock musical, the first Broadway show to feature full nudity, and the first to feature a homosexual kiss.

Tributes came from the theater world, including André De Shields, who tweeted “Rest in power, James Rado”, to playwright Michael R. Jackson, whose “A Strange Loop” just won the Tony Award for Best New Comedy musical. He tweeted “rest in peace”.

“Hair” made possible other rock musicals like “Jesus Christ Superstar” and “Rent”. Like “Hamilton,” it was one of the few Broadway shows in recent decades to find its songs on the pop charts.

The so-called “American tribal love-rock musical” had its world premiere at the Public Theater in New York’s East Village in 1967 and moved the following year to Broadway, where the musical gave more than 1,800 performances. Rado played Claude, a young man about to be drafted and sent to the Vietnam War.

Clive Barnes, theater critic for The New York Times, called the show “the first Broadway musical in some time to have the authentic voice of today rather than the day before yesterday”. The New York Post said he had an “involuntary charm”, infectious good humor and “youthful enthusiasm” that “make it hard to resist”. Variety, however, called it “crazy.”

It lost the Tony in 1969 to the more traditional “1776” but won a Grammy Award. The show was revived on Broadway in 1977 and again in 2009, when it won Best Tony Revival. It was made into a film directed by Milos Forman in 1979 starring Treat Williams and Beverly D’Angelo.

“Hair” spawned four of the top four singles on the US pop charts, including Fifth Dimension’s No. 1 hit “Aquarius/Let the Sunshine In,” which won Grammy Awards for Record of the Year and Best Performance pop vocal by a group in 1970. Others included “Hair” by the Cowsills, “Good Morning, Starshine” by lead singer Oliver, and “Easy to Be Hard” by Three Dog Night. The cast album itself remained at No. 1 on the Billboard 200 for 13 weeks

“Hair” tells the story of Claude and Berger, best buddies who find freedom at the end of the 1960s. Between drafts of cards, love-ins, bad LSD trips and parade of protest marches, the two wander in a New York filled with flower children, drug-addicted hippies and outraged tourists who don’t approve of wild happenings. In one song, Claude poignantly sings, “Why do I live, why do I die, tell me where I’m going, tell me why.”

The show is playful and chaotic, but there is also a sense of outrage in its protests against war, racism, sexism, pollution and the general hypocrisy of an era dominated by American involvement in Vietnam.

“I’d still like ‘Hair’ to be about what it was about back then,” Rado told The Associated Press in 1993. taught.

The songs from “Hair” have been used in everything from the movies “Forrest Gump,” “Minions” and “The 40-Year-Old Virgin” to TV shows like “Glee,” “So You Think You Can Dance” and “My name is Earl.” Billboard magazine ranks “Aquarius/Let the Sunshine In” 66th on the 100 Greatest Songs of All Time.

In 2019, the original 1968 Broadway cast recording was inducted into the National Recording Registry at the Library of Congress. Librarian of Congress Carla Hayden said “these auditory treasures are worth preserving because of their cultural, historical, and aesthetic significance to the nation’s recorded sound heritage.”

Rado was born in Venice, California and raised in Rochester, New York and Washington, DC After serving two years in the United States Navy, he moved to New York and studied acting with Paula and Lee Strasberg.

Rado was on the set for the Broadway play “Marathon ’33” in 1963 and played Richard Lionheart in “The Lion in Winter” in 1966 opposite Christopher Walken. He met Ragni when he was cast in the off-Broadway musical “Hang Down Your Head and Die.”

Both were interested in spawning a new type of show and focused on the hippie scene. They wrote the screenplay while sharing an apartment in Hoboken, New Jersey. Rado originated the “Hair” role of rookie Claude on Broadway.

“Hair” met with resistance across the country. In addition to the use of four-letter words, disregard for authority, sexual references, and crude humor, the end of Act 1 had the entire cast strip naked on “Where Do I Go.” and there was what many believed to be a desecration. of the American flag.

There were pickets in Evansville, Indiana. City officials in Chattanooga, Tennessee, denied a request to host the show, determining it would not be “in the best interests of the community.” In Denver, police threatened to arrest anyone who appeared naked on stage. A visit to Boston was challenged in court on the basis of flag desecration.

The original Public Theater production had cut out the nudity scene, but the creators wanted it back for the Broadway debut. Under law at the time, New York City allowed nudity on stage as long as the actors weren’t moving, which is why the entire cast of “Hair” stood naked and perfectly still.

After “Hair”, Rado wrote the music and lyrics for the off-Broadway show “Rainbow”, co-authoring the book with his brother, Ted Rado. He then teamed up with Ragni to create the book and lyrics for the show “Sun”. Ragni died in 1991. Rado wrote a new show called “American Soldier” with his brother.

In 2009 Rado, MacDermot and Ragni were inducted into the Songwriters Hall of Fame. The Fifth Dimension’s Marilyn McCoo and Billy Davis Jr. were joined on stage by the then-Broadway cast for a finale that had the ceremony’s nearly 1,000 guests on their toes. MacDermot died in 2018.

Rado told The Hudson Reporter in 2009 that none of the show’s creators anticipated it would have such a huge impact. “We thought we had stumbled upon a great idea and something that could potentially be a hit on Broadway, never thinking of a distant future.”

He is survived by his brother Ted Rado, his sister-in-law Kay Rado, his nieces Melanie Khoury, Emily DiBona and Melissa Stuart, his great-nieces and a great-nephew.

Marc Kennedy is at http://twitter.com/KennedyTwits



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Serial vinyl record thief wanted after stealing from Frederick Barnes & Noble County https://q-2-u.com/serial-vinyl-record-thief-wanted-after-stealing-from-frederick-barnes-noble-county/ Tue, 21 Jun 2022 19:51:09 +0000 https://q-2-u.com/serial-vinyl-record-thief-wanted-after-stealing-from-frederick-barnes-noble-county/ A serial thief is on the loose in Maryland and wanted after he was recently caught on camera robbing a Barnes & Noble location in Frederick County. An alert has been issued by Frederick County Sheriff’s Office investigators as they attempt to identify and locate a woman wanted in connection with multiple thefts of vinyl […]]]>

A serial thief is on the loose in Maryland and wanted after he was recently caught on camera robbing a Barnes & Noble location in Frederick County.

An alert has been issued by Frederick County Sheriff’s Office investigators as they attempt to identify and locate a woman wanted in connection with multiple thefts of vinyl records worth thousands of dollars.

Investigators did not say how many discs were stolen in the area, although the merchandise was estimated to be worth nearly $3,500, according to the sheriff’s office.

The woman was described as being between 25 and 30 years old, between 5ft 5in and 5ft 8in weighing between 120 and 150lbs with brown hair.

It is alleged that the woman was shown repeatedly stealing records, each time wearing a dark colored baseball cap, glasses, with a large light blue bag with a dark colored strap.

The investigation into the woman and the thefts is ongoing.

Anyone with information regarding the stolen records or the whereabouts of the woman has been urged to contact the Frederick County Sheriff’s Office by calling (301) 600-1046 and referencing case number 22-066289 .

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‘I wore fiery headphones to sing it’… how Arthur Brown’s The Crazy World made Fire | Culture https://q-2-u.com/i-wore-fiery-headphones-to-sing-it-how-arthur-browns-the-crazy-world-made-fire-culture/ Mon, 20 Jun 2022 23:18:00 +0000 https://q-2-u.com/i-wore-fiery-headphones-to-sing-it-how-arthur-browns-the-crazy-world-made-fire-culture/ Arthur Brown, singer, songwriter I have always loved flames. I don’t know if it had anything to do with moving to London at the end of the war, when I was three and the East End was on fire. If you look into the center of a fire, you get stillness within yourself. It’s like […]]]>

Arthur Brown, singer, songwriter

I have always loved flames. I don’t know if it had anything to do with moving to London at the end of the war, when I was three and the East End was on fire. If you look into the center of a fire, you get stillness within yourself. It’s like meditation, and it inspired me.

Later, after moving to Leeds, I enjoyed walking in the hills and singing, to feel the energy. I had read metaphysical poets like John Donne and one day I wrote The Fire Poem. After forming Arthur Brown’s The Crazy World, I turned the poem into the song Fire with Vincent Crane, our organist. He eventually ended up in a mental hospital after a bad acid trip, but before that he was a cornucopia of endless choral melodic inventions. I would simply say to him: “That thing you just played, that’s it!”

We were creative guys in surreal, folk, jazz and a bit of classical. Drachen Theaker, the drummer, played an African rhythm and Vince played it in chords on the organ. In the building where we were rehearsing, two other guys [Mike Finesilver and Peter Ker] were rehearsing with an Indian singer, Elli. They had a song that I really liked [Baby, You’re a Long Way Behind], so we mixed it with Fire for the “Da da daaaa” horn riff. They are now in the credits of the songs.

Pete Townshend came to see us at [legendary psychedelic haunt] the UFO club and introduced us to Who’s managers, Kit Lambert and Chris Stamp. We did a demo at Pete’s studio, with him playing guitar. Then Kit and Chris signed us to Track Records: Kit produced us. Ronnie Wood [from the Rolling Stones] says he played bass on Fire, but I think he’s confusing it with John Peel’s session version, which he played on.

I wore fiery headphones to sing it, which proved popular in clubs, but after the song went to number 1, there were a lot of incidents. The flames could reach 1.20 meters high: many clubs left burn marks on the ceiling. At a concert, my coat caught fire and I was running around with a burning arm. Health and safety was not important back then.

Phill Brown, band operator

I was a 16 year old tape operator at Olympic Studios in London, trained by Keith Grant, Glyn Johns and Eddie Kramer. We did a phenomenal amount of amazing sessions – Traffic, the Small Faces, the Move, Jimi Hendrix. I was learning to make records and I had the chance to be Arthur’s tape recorder.

When we were setting up the equipment, this very tall figure came in, wearing robes. I’ve never seen him in jeans or a T-shirt. Makeup aside, he looked exactly like he did on stage. Before we started recording, he didn’t exactly sing, but he did a lot of vocal gymnastics to warm up. He was such a character but a lovely guy, not selfish but also trying to push boundaries.

On Fire, there’s a kick drum upside down, which is pretty far off for 1968. We flipped the tape and played the drums so that when you turned it the right way, it went “pfft, pfft. ..” There was no plug-in effects sound back then, so if you wanted a different sound, you had to go somewhere that wasn’t the studio. The effect on “I am the god of hell and I bring you… fire!” the intro is a mix of those beautiful EMT echo plates [artificial reverb] and recording in the toilet, which gave a room-like sound.

The fire was made on a four track, then bounced to another four track to give more tracks to record on. Vince was playing bass pedals on his organ. Kit Lambert – who was more music-conscious than many managers at the time – decided he needed a few extra tricks, so horns were added.

Working on a No. 1 record at 16 was a fantastic feeling. Unfortunately, Arthur never collected royalties, which was often the case at the time. I then spent a lot of time working with my heroes [as a producer] but I don’t have autographs and obviously neither of us had cell phones. I have a photo of me with Sly Stone. You do a job and sometimes you become friends. It’s only much later that you look back and think, “What a week that was.

Arthur Brown’s new album, Long Long Road, is out on Magnetic Eye Records on June 24, his 80th birthday. The band will play at Bush Hall in London on June 25. Details thegodofhellfire.com


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