Tuesday, March 18, 2008

Indies Embrace On Demand Production

Indies Embrace On Demand Production
Today's independent musician is often called an "Indie," a
term used to describe a type of music genre characterized
by their independence from commercial record label
companies. Indie artists typically go against the current
trends and often have an entrepreneurial approach to
recording and publishing their music.

Indies originated with punk bands during the '70s where
people in this scene were involved in bands with fan bases
who shared similar ideas. Indies are known to go on
self-funded tours, often to other countries, where those in
the local Indie scenes help organize gigs and joint tours.

Indies also seem to possess a lack of sophistication that
is often associated with commercial record labels, but the
line is becoming more and more blurred thanks to a new
digital world with the Internet where high-quality
recordings can be made easily with inexpensive
computer-based recording systems.

Now artists can introduce their music to a big audience
worldwide at low cost without being with a major recording
label. Digital music software encourages the discovery of
this new music, while websites with large libraries of
songs are quite successful. Independent bands have never
had it better, and they can even get royalties.

With the arrival of newer and relatively inexpensive
recording devices and instruments, more individuals are
able to participate in the creation of music than ever
before. Studios are rented by the hour and are very costly,
and sometimes even hard to find. Today anyone can produce
studio-quality music from their own home. An artist is able
to experiment with different sounds and styles without
necessarily spending the money in the studio.

Furthermore, CDs on demand make it possible for Indie
artists to sell their music without manufacturing and
storing thousand of discs. Orders can be filled from an
Indie label's site on an as-needed basis. This makes it
possible for artists to get their music in front of the
public with very little expense and little or no inventory.
Thanks to on demand production, many bands have chosen to
forego a record label and instead market and distribute
their music through entirely web-based means. Some artists
have broken away from the format of major labels and have
developed a unique platform in which the label's they can
retain ownership of their music, copyrights and the rights
to any content and masters. The platform includes some
innovative ideas but clearly the CD and DVD on demand
production model s a major focal point. They feel that lack
of financial resources should not be a determining factor
as to whether an artist's music is heard by the public.

According to ASR's Chairman and Co-founder Alaadeen, in
order to get a good rate to manufacture CDs, he had to
manufacture large quantities. This led to excessive
inventory.

Most artists also maintain their own websites and
participate in social media marketing activities such as
music blogs and websites like Myspace.com or Facebook.
Independent music companies often use these to rate a band
after listeners have voted to determine if they like the
music or not, thus expensive talent search and development
in the music industry is no longer needed.

Currently the sale of digital music makes up only five to
ten percent of the total income generated from music sales,
but the numbers are increasing as record labels diminish,
and Indies grow. On a national level, more and more people
are adapting broadband Internet connections so it will be
easier for them to access digital music online in the
future.


----------------------------------------------------
Kristin Gabriel is the marketing communications director
for Acutrack, Inc. (http://www.acutrack.com). The company
enables customers to create, publish and deliver custom
content for CD and DVD duplication worldwide. Acutrack's
proprietary On Demand production produces and ship custom
packaged CDs or DVDs one at a time.

Shogi: An Introduction To Japanese Chess

Shogi: An Introduction To Japanese Chess
Shogi is commonly referred to in English as "Japanese
Chess" because Shogi and Chess share some common
characteristics and are both thought to have derived from
the Indian game of Chaturanga.

The first couple of things Chess players are likely to
notice about Shogi are the size of the board and the number
of pieces. Chess players who are used to playing with
sixteen pieces each on an 8 x 8 board may be surprised to
find that Shogi is played on a 9x9 board and that each
player starts with twenty pieces.

Also, whereas in Chess the pieces stand upright like
soldiers, in Shogi they lie flat on the board and are wedge
shaped, with the sharp end of the wedge pointing forwards
so that the players can tell at a glance whose side each
piece is on!

The rank of a piece is indicated by its size and by one or
two Japanese characters painted on its upper face.

When a player advances a piece to the 7th, 8th or 9th row
of the board it may be possible to promote it by turning it
over, depending on which piece it was that the player moved.

Chess players will be surprised to learn that in Shogi
captured pieces may be "dropped" back on the board and used
by the player who captured them! This is a unique feature
of the Japanese game. When a player captures a piece he
puts it to one side (or places it on a special tray). Then,
when it is his turn he can either move a piece on the board
or "drop" one of the captured pieces onto a vacant space on
the board. Because of this innovation the pieces are not
distinguished by colour as they are in Chess, Igo, or other
games.

A game of Shogi tends to take longer to get going than a
game of Chess as some of the pieces have limited movement
ranges and also because players commonly prefer to build a
defensive organization around the King before attacking.

Nevertheless, Shogi has an opening, middle and end phase as
does Chess, but the "drop" rule gives Shogi a more
open-ended character as the board can suddenly fill up with
pieces again if the players engage in a battle of "drop"
and "counter-drop".

The drop rule allows for the truth that captured soldiers
may be turned against their former masters. The sudden
appearance of a Shogi piece "dropped" behind enemy lines
may be likened to the unwelcome appearance of a Ninja
warrior breaking into the Daimyo's castle!

Shogi offers an early example of how a foreign invention is
introduced into Japan and modified and refined to become
something unique to the Japanese.

In recent years Shogi has begun to attract a following
outside of Japan, in China, Europe and America. If you
enjoy playing Chess, I recommend that you try playing Shogi
and experience something of the unique spirit the Japanese
have imparted to this ancient family of games.


----------------------------------------------------
David Hurley lives in Japan and runs a website supplying
Japanese Shogi sets, exclusive hand crafted Shogi pieces,
Shogi boards and koma trays direct to customers all over
the world. Visit =>
http://japanese-games-shop.com/shogi.html for more
information about Shogi and other Japanese games.

The 5 Trends That Make SXSW 2008 the Indie Film Fest You Need to Know About

The 5 Trends That Make SXSW 2008 the Indie Film Fest You Need to Know About
SXSW 2008 Film Festival wrapped up this weekend, leaving in
its wake a single tattered, oh so earnest, snapshot of
Indie filmmaking. If Sundance is the official word on the
state of indie filmmaking, SXSW is what you'll learn going
to your local bar. Getting down with SXSW is what it takes
to get your ear close to the American independent film
underground. Here's a look at the Top 5 Key Trends that
emerged from this year's diverse group of fiction features
and documentaries.

1. Mumblecore is here to stay. Sort of. The relationship
genre for the Facebook generation, 'mumblecore' movies are
about kids who can rarely say what they mean, mean what
they say, or, even, enunciate properly while they are (not)
saying it. The name is somewhat derogatory but it points
nonetheless to the real problems of a generation that has
lost faith in love but remains romantic at heart.

One of the more intriguing entries is Joe Swanberg's NIGHTS
AND WEEKENDS which requires no shaping narrative to step
inside the lives of a young couple facing a long distance
relationship. Basically, the film presents a series of
random snapshots of recognizable relationship moments:
insatiable passion, half-hearted compromise, bickering,
disappointment, excitement—the whole darn grab bag.

NATURAL CAUSES, MEDICINE FOR MELANCHOLY and THE LOST COAST
all give their own spin to the genre: the first plays it
for comedy; the second weaves in questions of race, class
and urban gentrification; and the last delves into problems
of friendship and sexual identity. All in all, the extremes
of the titles, from the clinically quotidian NATURAL CAUSES
to the elegiac THE LOST COAST, point to a generation firmly
caught between the yearning for the grand gesture and the
limitations of the emoticon.

2. The mockumentary is back with a difference. This genre
comes and goes and Christopher Guest has already perfected
its comic potential, and so, for that matter, have Stephen
Merchant and Ricky Gervais with THE OFFICE (and
franchises). The two mockumentaries at this year's fest
stand out for their determination to let the viewer fret
over their status. Indeed, A NECASSARY DEATH, seemingly the
story of a student film project looking for the perfect
suicidal subject to follow up to the moment of the deed,
holds onto its non-fiction status until the end when it
pulls the rug out from under the viewer.

WOODPECKER falls closer to Guest's terrain, playing out as
a tenderhearted bird-watching comedy. However, the film's
interview subjects are real residents of Brinkley, Arkansas
who the filmmaker interviewed for their thoughts on the
bird-watching craze that engulfed the town when reported
sightings of the ivory-billed woodpecker, long thought to
be extinct, began to circulate.

In both cases, the films are invested in presenting
themselves as reliable, credible documentaries, leaving the
audience to sift through the meaning upturned when their
fiction roots are laid bare. Maybe, the are not even
mockumentaries proper in that they are not as interested in
having fun with the faux documentary genre as they are in
messing with audiences expectations, by being, quite
simply, fake documentaries.

3. Hats Off To The Auteurs Of Yesterday Remember in the
early 90s when every Indie feature was stylistically 6
degrees from Tarantino? Things change. Filmmakers this year
were paying their respects to the canon, both European and
American. Generally, this was evinced by a turn to realism
and naturalism in the majority of films, but on a film by
film basis, a few called up the glorious filmmakers of the
50s and 60s, while still remaining their own inimitable
selves.

In the short competition, Wholpin Award Winner GLORY AT SEA
drew comparisons to Werner Herzog for both its ambitious,
foolish, epic scope and the total commitment exhibited by
its maker and his fearless crew. You have to read the whole
review to get the full story on how this film became a SXSW
legend. Herzog would be proud.

Shot on 16mm, Josh Safdie's THE PLEASURE OF BEING ROBBED
drew rave reviews and comparisons to Robert Bresson, a name
that is not often bandied about when speaking of current
films.

Grand Jury Award winner WELLNESS loosely skirts the surface
of the deep tracks left by SALESMAN, arguably the Maysles
brothers' best work and certainly one damn bleak portrait
of America. Equal parts bravado, delusion, hope and
desperation, WELLNESS offers up the failed and failing
American salesman as the most poignant of all figures. He
is so, not because he has lost faith, but because he has to
keep up the front, even when he no longer believes in
either his product or himself.

4. Docs Love The Young - And The Old Since the success of
previous SXSW entry SPELLBOUND, followed by MAD HOT
BALLROOM, docs on American kids doing their thing have
become a sort of documentary sub-genre. SXSW 2008 offers
FRONTRUNNERS, the story of a high school election at New
York's most prestigious public school. However, YOUNG@HEART
was the fest's feel-good documentary, a look at a senior's
choir devoted to performing rock hits.

The common thread here is that both teens and the elderly
are totally shafted in most mainstream representations: the
former are glorified as brain-dead, oversexed consumers,
full of MSN speak and limited vision; and the latter are
relegated to backdrop decoration, expected to provide
occasional barbs and hilariously eccentric behavior. These
docs do a lot to right that balance of perception, giving
the young and old alike a humanizing look that is woefully
lacking at the multiplex.

5. The War In Iraq: Documentary Wins Playing in the
Premiere category was Kimberly Pierce's eagerly awaited
STOP-LOSS, but anticipation quickly melted into yet another
disappointing feature about the Iraq war.

Fiction features on the subject are floundering, unable to
move past the rather pat assertion that "war is hell" or
bogged down by their blind dedication to their own
even-handedness. I sort of wish this generation had a
Samuel Fuller who could take the topic to town with no
concern for moral or political messages and just let the
situation's own complexities and unanswerables take center
stage.

But where fiction flounders, documentaries flourish, as was
the case with SXSW doc highlight FULL BATTLE RATTLE, a look
at a military training facility in the Mojave Desert that
simulates war conditions for its trainees. Despite the fact
that audiences may have an "Iraq fatigue" brought on by a
saturated documentary slate on the subject, these films
stand as an undeniably strong body of work: well crafted,
informative, intelligent, and emotionally charged.


----------------------------------------------------
Daniel Lafleche is the COO of IPEX TV, the leading
multiplatform B2B Film and Video online marketplace. Daniel
has over 25 years experience in film distribution,
combining film and video licensing with internet media.
IPEX TV specializes in helping indie producers and film and
video distributors take advantage of the web and reach out
to international film license buyers. You can learn more at
http://www.ipexview.com