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    June 12th, 2014BarryUncategorized

    Gisteren las je op dit blog het eerste deel van de band Antillectual met schrijver en muzikant John Robb, als voorbereiding op de Incubate DIY Conference op 16 september.Windows 8 Standard Key
    Die dag doet John Robb op zijn beurt een interview met Do It Yourself-voorvechter Steve Ignorant (Crass) over DIY, Crass’ en Ignorant’s esthetiek en zijn autobiografie The Rest is Propaganda.

    Verder gebeurt er die dag natuurlijk nog veel meer, dat je allemaal hier leest. We geven het woord weer aan Antillectual en John Robb:

    Last year’s edition of Incubate was all about piracy. Keynote speaker Matt Mason, author of The Pirates Dilemma, pointed out how pirate-like behaviour and trends from youth culture (many of which find their roots in underground / DIY) are emerging more and more in the corporate world. For example: Nike launched a campaign called ‘skateboarding is not a crime’, obviously with the intent to extend their corporate identity. How do you feel about this mainstream use of underground culture?

    It’s up to the bands. I know how skint most musicians are so if they take the dollar from Nike then good on them, it’s all Robin Hood for me – steal from the rich! If you are going to steal their music, charge through the roof for work visas and make it too expensive to play, then the money has to come from somewhere. Nike is not the ideal paymaster but where is the choice? Unless you have rich parents or work in a day job (for another multinational probably) then your choices are narrow and it’s expensive being in a band. These are tough times – the dole is being squashed and it’s only rich kids that can afford to be in bands, does this mean that Nike are going to be our paymasters?

    I would prefer that we didn’t have to go down that road though, there must be another way but the choices are getting narrower and narrower all the time. I think it’s cool that Ian MacKaye takes Nike to the cleaners for robbing his work but I don’t hate any small band for taking the money. Life is not black and white like it used to be. Without record labels musicians have to look to different places to make money, whether its selling music to ads and films or selling their souls to another backer – art has always survived. Michelangelo was subsidized by the rich and he still made great art… Maybe everyone would like to pay for music again so musicians can tell Nike to fuck off!

    In Holland a right-wing government is making huge cutbacks on art and music funding. Bands and musicians are directly and indirectly affected by it. Obviously a lot of people regret these cutbacks, on the other hand you can discuss whether you want to be dependent of grants. How do you see it; as a loss for the music scene, or as a great chance for new impulses and the filtering of “lazy” musical entrepreneurs that might quit after being cut off?

    The right wing were never lovers of art were they! Grant culture is odd, in the UK it’s the same type of people that always get the money – put it this way, a punk rock band is unlikely to get a chunk of money from grants! I would prefer the money to spread in a fairer way but in a recession I would prefer the money to be spent on looking after the old and the weak – they are priorities in tough times and it may mean that alternative money sources have to be found so it’s back to Nike again! The labels have gone bust and the music is for free on the internet, it keeps going round in circles and someone has to pay for the rehearsal room and those musical instruments! The counter culture is being squeezed because everyone is skint.

    We play in Antillectual, a Dutch political punk rock band, with our roots in DIY ethics but also trying to get our music and message out to a broader audience. When contacting other parties in the music industry (labels, bookers, management, etc) we sometimes get the reaction that we are “too DIY” to cooperate with. How can a well-functioning band be a disadvantage to, for instance, a booking agency or a label?

    They prefer unquestioning foot soldiers to send over the tops of the trenches into enemy fire. If you can look after yourself then you will answer back! You are right you would think a well organized band would be an advantage but they probably mean style of music as well, the sort of music we are all interested in is not the sort of music that soundtracks their world, there’s a cultural gulf as well and one that will not get bridged – it hasn’t been bridged since it started decades ago!

    For the DIY Conference during Incubate Festival you will be interviewing Steve Ignorant of Crass about ethics and DIY. Why are Steve Ignorant and Crass one of the leading people/bands in the history of DIY? What is unique to their approach and what key points are still relevant in today’s music scene? Have some also become outdated or irrelevant?

    Crass are probably more relevant now than they were at the time, their ideas resound through the decades and their music has never dated, it’s power has only increased. Their DIY ethics can still be applied if only hampered by the fact that no-one buys records any more even if they are 49p! I’m not sure how easy it would be to buy a Diall House as a base of operation, buildings like that near London are way to expensive these days and it’s space that matters more than anything, space to exist, Windows 8 Enterprise Key
    space to create, but there are echoes of Crass everywhere – directly in animal lib or anti-capitalist demos and the student riots in the UK to the large amount of vegetarians in my generation to the thousands of really young punks I’ve seen in the USA with Crass patches on their clothes – even if they only like the design they will get the ideas in the end. Did Crass change the world? Not directly but they were a conduit for the great ideas of the counter culture amplified through punk, they gave people hope and a rallying point and they are still there to do that. Their records are key texts on hope through anger… How powerful is that!

    Veel meer over Do It Yourself dus op 16 september in Tilburg. De prijs voor een conferentieticket mag je zelf bepalen van Incubate. Ik ben er bij in ieder geval. Zie je daar?

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    June 4th, 2014BarryUncategorized

    Volgende week is het weer zover: voor de zevende keer staat Tilburg en omgeving in het teken van Incubate festival. Van 12 tot en met 18 september kun je naast muziek (o.a. Battles, Glen Hansard, The Fall, Health, Austra, Omar Souleyman) ook veel beeldende kunst, film en dans zien, in totaal maar liefst 270 artiesten.

    Op vrijdag 16 september organiseert het festival de DIY Conference, een dag over “de ontwikkeling en ethiek van Do-It-Yourself cultuur”. De keynote komt van Michael Azerrad, auteur van Our Band Could Be Your Life en voorheen redacteur van Rolling Stone. In zijn boek beschrijft hij underground bands (van Black Flag tot Sonic Youth) en hun invloed op de ontwikkeling van de Amerikaanse alternatieve- en indierock.

    Verder staan op het programma o.a. Bill Drummond en de Nederlandse première van de documentaire PressPausePlay . EHPO is er ook bij om het studentendebat te leiden. Het hele programma vind je hier. De kosten? Pay What You Want!

    Op de conferentie wordt Engelse punklegende Steve Ignorant geïnterviewd door John Robb. Ignorant was met

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    zijn band Crass een van de aanjagers van de DIY mentaliteit en daarmee van grote invloed op de punkbeweging. John Robb is schrijver (en bedacht de term Britpop), BBC commentator en zanger van punkband Goldblade. Voorbereidend op de conferentie stelde de band Antillectual (die hier op EHPO eerder voorbij kwamen met hun doet het zo) enkele vragen aan Robb. Het eerste deel van dat interview kun je vandaag lezen, de rest is hier morgen te vinden.

    People call you a DIY-guru, but you also you run a label and you are active on “the other side” of the music industry. How do you see the current digital revolution that the traditional music industry is complaining about? Is this revolution the ultimate way for musicians to do it all themselves

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    or will this cutting-out-the-middle-man degrade the music industry into a structureless chaos?

    Like any musician, I’m DIY because that’s how to make music on my own terms. I doubt EMI would be interested in what we do so being DIY is easy for us! With punk rock we were given an opportunity, an energy, a space to do something and we took it. We didn’t want to make music just to please the mainstream, we just wanted to make music that sounded right to us and I still do – if that makes me a DIY guru then that’s cool, I believe in creativity and everyone’s ability to create and you don’t need anyone’s permission to create.

    This is great in the digital revolution, for me punk rock has always been allied to creativity and should never be scared of going forwards. Computers are key to helping our culture survive and so is the internet. The plus side of the downloading culture is that it creates a chance to get your music heard but it’s a very complex and messy situation, most small labels I know are over, no-one buys records any more, they are all for free on the internet – great for getting your music known but a nightmare for DIY because affording a studio is getting tough, getting your music publicized is getting tough – I love the way that anyone can create and get their music a platform but being in a band is getting tougher and tougher and I really don’t like the self righteous people who give away band’s music on their sites and make the money with porn ads and strip ads on their site and make out they have some sort of free thinking motive for what they are doing and curse major labels – at least the majors would pay you money before they fucked you over!

    It’s hard to see where all this will end, any frontier period is always interesting and music is always in a state of flux and it’s all a matter of control, I think the musician has even less control over their music now and ultimately I believe that the creator should have the ownership of their art and they should be the ones who decide whether it’s free or on the internet or on vinyl but that option has now gone…

    Sir Bob Geldof has claimed that there is a need for (new) bands with a message, revolting against something, for a cause; “Where are our Ramones or our Sex Pistols today? Do we need them? Yes is the answer. Will they be found? Maybe not.” Do you share his view that we need new artists with a social content? Or is Sir Bob not looking closely enough?

    There are loads of bands with a social content if you look, and as much as I love the Ramones they didn’t have a social content – they were a brilliant, genius cartoon. There are always idealistic young people, bands like King Blues and a whole scene of young bands around them are saying good things in their music. Even Green Day have some sort of questioning content to their songs – no less than Bob Dylan had in the sixties.

    There is still lots of young people thinking and feeling things: the student demonstrations, the anti-globalization movement, it may not be in the charts but who gives a fuck about the charts? I think the gains made by the counter culture are so much part of the mainstream now that no-one notices them any more, they seem normal. Saying that, there is plenty of bad stuff going on, it’s the eternal struggle between the good and evil that lies at the heart of people. We have to stay positive though. And Bob you are still welcome to join in again even if the Boomtown Rats were not that political or revolutionary themselves!

    Morgen lees je het tweede deel van het interview met John Robb door Antillectual.

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    December 2nd, 2013Bence MeijerConference

    Incubate Conference 2013 – Selling Cars With Art: Hybrid Artist Rafael Rozendaal from Incubate Festival on Vimeo.

    “Rozendaal is a typical example of a modern hybrid artist: he used his autonomous work to help sell the latest Ford Fiesta” Windows 7 Home Premium SP1 Key At the Incubate Conference, Rafael Rozendaal was interviewed about his collaboration with car manufacturer Ford. Rozendaal is a typical example of a modern day hybrid artist: he used his autonomous work to make a commercial to help sell the latest Ford Fiesta-model. What do both parties get out of it? What exactly does hybridity mean in the arts practice of Rafael? The relationship between fine arts and commercialism still is precarious to a lot of people, seeing it as a form of selling out, what does Rafael think of this? What are the reactions of car enthusiasts to Rafael’s commercial and the collaboration; do they look at it as
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    art, or as beautiful decoration for their favorite car? Does Rafael feel the work still has the same artistic values when it is integrated with a car than in stand-alone version?

    At Incubate, we rebuilt the original setting of the commercial and at our conference, Miriam van Ommeren will interview Rafael Rozendaal on these topics. She is founder and chief-editor of Dutch digital cultural magazine De Optimist.Windows 7 Ultimate Key Recorded live at the Incubate Conference 2013, September 19 & 20 at Hall of Fame, Tilburg. Recordings by Jef Monté from Dieper Beeld: dieperbeeld.nl. For more information on the Incubate Conference visit incubate-innovation.org. All lectures that have taken place during the Incubate Conference 2013 are to be found here

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    November 27th, 2013Bence MeijerConference

    Incubate Conference 2013 – Are Red Bull, Toyota and Converse our new friends or enemies? (panel) from Incubate Festival on Vimeo.

    “Red Bull is saying: ‘record labels no longer cultivate artists; this is our way to contributing to the music’”

    Big brands promoting black metal and electronic underground: sounds like a utopian thought, but it has become a very real marketing trend that has emerged over the last years, called ‘Content Curation Marketing’. Brands like Toyota, Converse and Red Bull are starting to act as a record label, reporter or promoter for underground music and art. Red Bull Academy has even become a well-respected institute within the electronic music scene, and justifies their marketing program with the argument that ‘record labels no longer cultivate artists; this is our contribution to the music scene.’ At the same time, the relation between marketing and arts is slippery as ever. Could this development become a new form of art patronage, or is it just a novel way of selling out?

    Dimitri Vossen published an article about this sensitive topic in Gonzo (circus). The magazine will organize a debate session where the challenges and threats of Content Curation are explored. Vossen will introduce the phenomenon, and afterwards host a discussion with advocates and opponents of the trend, with a panel of both artists and marketeers. Joining in are Mark Vandevelde, Sheriff at Content Cowboys, Boef en de Gelogeerde Aap, Pascal Deweze (Sukilove, Metal Molly, Broken Glass Heroes (with Tim Vanhamel) and Pieter-Jan Symons (Rock Tribune & Rough Trade Belgium).

    Recorded live at the Incubate Conference 2013, September 19 & 20 at Hall of Fame, Tilburg. Recordings by Jef Monté from Dieper Beeld: dieperbeeld.nl. For more information on the Incubate Conference visit incubate-innovation.org.

    All lectures that have taken place during the Incubate Conference 2013 are to be found here

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    November 25th, 2013Bence MeijerConference

    Incubate Conference 2013 – An interview with A Guy Called Gerald from Incubate Festival on Vimeo.

    “What are A Guy Called Gerald’s personal experiences of the explosion of Acid House?” This year’s Incubate will include a night devoted to celebrating Acid House, which emerged 25 years ago. One of the 200-120 originators of the style was A Guy Called Gerald, founding member of 808 State (both performing at Incubate) and ‘UK Granddaddy’ of acid house. He laid the foundation for genres like drum ‘n bass and jungle through his solo acid house sounds and is considered a pioneer in the Manchester rave scene. Before Gerald will take the stage, we’ll host a discussion with Gerald about the earliest days of dance music in
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    Manchester with British independent music magazine The Wire. Before House SY0-301 music of the late 1980s, Manchester already had a thriving dance scene populated by jazz dance, hiphop and electro crews. Derek Walmsley talks to A Guy Called Gerald about his experiences as a kid growing up in the city during the first stirrings of UK dance music, the influence of drugs on the scene, and his personal experience of the explosion of Acid House. Recorded live at the Incubate Conference 2013, September 19 & 20 at Hall of Fame, Tilburg. Recordings by Jef Monté from Dieper Beeld: dieperbeeld.nl. For more information on the Incubate Conference visit incubate-innovation.org. All lectures that have taken place during the Incubate Conference 2013 are to be found here

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    November 18th, 2013Bence MeijerConference

    Incubate Conference 2013 – Sebastiaan ter Burg: Earning Money By Giving Away from Incubate Festival on Vimeo.

    “Most photographers call me crazy, that I’m giving my
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    stuff away, saying ‘you are destroying the market’. That makes me proud”Windows 7 Professional Key “It’s all negative energy to hunt down abusers and see where my photos are used. I just want them to be used.” Meet photographer Sebastiaan ter Burg. He is one of the few people that won’t complain if you reuse, remix or republish his work without payment. He even encourages it. Over the years, he has created a business model completely based upon open content. His work ends up in hyperlocal as well as international publications and gets millions of views. He’s been doing so successfully for years and his business is growing.

    Most people assume that the only viable business strategy is to protect your work. Squeeze every penny out of it and drag violators to court. But in his lecture/workshop, Sebastiaan ter Burg shares personal experiences about the alternative to these old school perspectives and how to make a living out of it. “Most photographers call me crazy, that I’m giving my stuff away, saying: ‘you are destroying the market’. That makes me proud.” Windows 7 Home Premium Key Recorded live at the Incubate Conference 2013, September 19 & 20 at Hall of Fame, Tilburg. Recordings by Jef Monté from Dieper Beeld: dieperbeeld.nl. For more information on the Incubate Conference visit incubate-innovation.org. All lectures that have taken place during the Incubate Conference 2013 are to be found here

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    November 15th, 2013Bence MeijerConference

    Incubate Conference 2013 – Have baby boomers stolen music? (panel) from Incubate Festival on Vimeo.

    What is the attraction of keeping on strolling down memory lane? A big deal of music press and media is dominated by the post-war Baby Boomer generation, and it seems like they can’t stop emphasizing this ‘golden age in music’, going on and on about how the 60s and 70s was the greatest period in musical history. Is it just because the superstars from these times are still the big sellers? Are readers and listeners really so sensitive for nostalgia, wanting to believe that the music from their youth was better than any new music? Is
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    it because music develops just so quickly at the moment, with genres seemingly disintegrating further and further into subgenres that are getting harder to pinpoint? Whatever the reason, the ongoing focus on the golden age seems to be choking off discourse about contemporary artists. So: have baby boomers stolen music and modern discourse? The Quietus/The Wire’s Rory Gibb will chair the talk, joining in on the discussion are Ian Harrison (MOJO Magazine), Luke Turner (The Quietus), Theo Ploeg (frnkfrt, Gonzo (circus)) and Gijsbert Kamer (Volkskrant). Recorded live at the Incubate Conference 2013, September 19 & 20 at Hall of Fame, Tilburg. Recordings by Jef Monté from Dieper Beeld: dieperbeeld.nl. For more information on the Incubate Conference visit incubate-innovation.org. All lectures that have taken place during the Incubate Conference 2013 are to be found here

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    October 11th, 2013Bence MeijerConference

    Some of the lectures during the Incubate Conference 2013 had a specific academic approach. Scholars came to present their researches that often adressed an innovative

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    view on how to deal with the labyrinths of current cultural and social conditions that occasionally tend to have us in their grip. The Leisure Academy Brabant presented a number of lectures: What Artists Demand From The City by Nienke van Boom, Increasing The Social Impact Of Events by Marisa de Brito and Chris-Anne Verhoeven and Storytelling: How Great Stories Create Value by Kristel Zegers. This video shows a little overview of these speakers and their topics and gives an impression of the workshops and lectures during the conference. Please Desperate longing to vanity reigns in mind of this best horoscope zodiac sign representatives.

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    note that the video is partly in Dutch.

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    October 9th, 2013Bence MeijerConference

    babyboomers myth

    During the Incubate conference the topic of music hijacked by the baby boomers was a succesful and important topic that had to be finally adressed. Without a doubt, for over more then a decade, our musical landscape is being tainted by the contrast of a  musical golden age myth of the past on one side resulting in contemporary music to conform to these standards. On the other side there is the idea of  radical innovation and a new type of music which moves forward and evades getting captivated by the shackles of the past. Nevertheless, music journalists often speak within the paradigm of a golden age of music from the past making it difficult for bands to be judged as a standing alone phenomena of the here and now. Some bands of the past keep innovating and try to stay up to date and embrace contemporary developments and incorporate them in their music while others seem to thrive on bringing a constructed piece of the past to the contemporary world. These and so many more implications are part of this very much living affair.

    The Quietus posted a new article on this topic written by Luke Turner titled Black Sky Thinking: How The Baby Boomers Stole Music With Myths Of A Golden Age. Clearly Turner wants to come across with the baby boomers and declares an end to it, but surely this debate will have a continuation.

    “I love buying vinyl, but I do not need these wobbly old bores going on about how in the 70s you’d stoke up the boiler, whip the donkey, eat a lump of coal and do an incantation while having three spins on a space hopper to make sure there were sufficient authentic crackles to properly enjoy the latest number by Slade.”

    “The baby boomers mistake the lack of a central cultural narrative for a lack of progress. They’re content to sit there praising the bloke who came up with the wheel by first attaching a couple of flat slices of tree trunk to his hod, and worse, those who lamely copy him. They never celebrate those who came after and continue to come, who improve and develop or noisily and enthusiastically deconstruct the past to build anew.”

    Read the full article here

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    September 18th, 2013BarryConference

    TheStrypes On Friday September 20, we'll host a panel called 'Have Baby Boomers Stolen Music?' at the Incubate Conference: a discussion about nostalgia and the attraction of keeping on strolling down memory lane and the discourse on contemporary music. Taking seat are Gijsbert Kamer (Volkskrant), Ian Harrison (MOJO Magazine), Luke Turner (The Quietus) and Theo Ploeg (frnkfrt, Gonzo (circus)). The Quietus/The Wire’s Rory

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    Gibb will chair the talk. Theo Ploeg wrote a preview piece about this topic: “The question is crystal clear. Is it the baby boom generation still dominating the music press and industry that is romanticing the music from their youth? I don’t think so. Yes, baby boomers are a nice and easy target to blame. They are guilty of causing the economic and bank crisis, guilty of the pension problems of future generations, guilty of holding on to good jobs for too long. And, of course, they are guilty of most people thinking that the best pop music is made in the 60s and 70s. That’s too far fetched. Our obsession with the past has little to do with the hay days baby boomers spent their youth in. But what makes us, in the first to decades of this new century so nostalgic?”

    Read the full

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    article here, and of couse: join in on the discussion on Friday afternoon. See you there!

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