Monday Bar Summer Cruise 2013 is here! So who's coming? http://on.fb.me/196DYPL #edm #trancefamily #hardstyle #psytrance #bassfamily
spraci.info
Hardhouse
MASIF SATURDAYS feat KUTSKI [03.08] + HARDCORE MAS
Saturday 1st June 2013
Space Nightclub, Liverpool St, Sydney
MASIF SATURDAYS
PRESENTS
▌KUTSKI, KEEPING THE RAVE ALIVE TOUR 2013 ▌
MEL - HARD KANDY vs MASIF, Roxanne Parlour [Fri 31.05]
SYD - MASIF SATURDAYS, Space Nightclub [Sat 01.06]
===== 18+ MAIN ROOM EVENT =====
This Saturday marks the return of the UK's most prominent DJ of the harder styles, the legendary KUTSKI!
His show on the UK's No 1 Radio station: BBC1, coupled with his weekly podcast 'KEEPING THE RAVE ALIVE', pushes the boundaries of hard dance music and ensures that RAVE MUSIC never dies!
The man will be flying straight to Australia from his US tour having played at EDC Chicago with over 75,000 festival goers!!!
In Arena 2 the HARDCORE MASIF crew return with UK Hardcore, OLSKOOL HAPPY HARD, GABBER and everything in-between, all spun by your local heroes!
✪ MAIN ARENA:
TRANCE | HARDANCE | HARDTRANCE | HARDSTYLE
★ KUTSKI [UK]★
SUAEPULSARKAMIKAZE [BDAY SET]
HSBFANATICSA-STARZHARDFORZEGERM vs IMPORTVLNHARLEMHosted by MC D
"Because EVERY weekend is MASIF!"
✪ ARENA 2:
UK HARDCORE | OLSKOOL HAPPYHARD | ANTHEMS | GABBER
RAVINEWEAVERJTSCOTTSTOM-EMATRIXJASON SUAEZANDERNIXFOLKESSITOONSPINDO
Hosted By MC RIDDLE vs MC NAPSTA
★ COMPETITION ★
* Best male and female Dancer [Lights or Rave Toys optional]
* Best male and female RAVE Dresser or costume [must incorporate UV theme]
* Random runner up prizes!
✪ Prizes include:
☞ FREE ENTRY TO THE NEXT MASIF☞ FREE TICKETS TO HOMEGROWN [POWERHOUSE]
☞ BAR TABS☞ SIGNED KUTSKI POSTER
▌ENTRY INFO ▌
- DOORS OPEN: 10PM- VIP GUESTLIST: $25 [Before midnite]
- GENERAL: $30 [On the door]
- VENUE CLOSES: 6AM
There are NO AFTER HOUR LOCK OUTS at SPACE!
SPACE DRESS CODE:
No gym gear. No track pants. No gym shorts. No caps.
3/4 length pants are fine. Come to party!
If in doubt, we recommend you make a little more effort.
The dress code isn't strict but there are limits.
Don't miss out on a Great Night out because you look too casual.
FACEBOOK:
Masif SaturdaysHard Dance AllianceHard KandyDJ Kutski
WEB:
www.masif.orgwww.youtube.com/masifsaturdayswww.hardkandy.com/
http://www.djkutski.com/
WANT TO GET ON THE MASIF VIP GUESTLIST?
Send your guestlist to: guestlist@masifsaturdays.com.au
IS YOUR BIRTHDAY COMING UP?
Masif Saturdays offer one of the best birthday packages in town. Please e-mail and reserve your party now: info@masifsaturdays.com.au
WANT TO BE A MASIF SATURDAYS PROMOTER?
Get involved in Sydney's new Superclub night - please e-mail: promo@masifsaturdays.com.au
MASIF SATURDAYS - Australia's #1 Hard Dance Club [
Saturday 25th May 2013
Space Nightclub
What an EPIC night it was on Saturday for the REBORN FESTIVAL afterparty! Not only did HARD DRIVER play a storming set...so did the DONKEY ROLLERS! LUCA ANTOLINI rocked the house b2b with STEVE HILL too...huge!!!
This week we've amassed a large lineup of your favourite Sydney Harder Styles DJ's! Over 25 DJ's will be spinning all the latest Hard Dance, Hard Trance and Hardstyle all night long!
See you on the dancefloor!
MASIF ARENA:
SUAEPULSARS DEEDILLYTEKTHE STRANGERZTHE KHEMISTHARDFORZEMICKY DNOMADARBEEMAETEXMATRIXDAN DICKBYFORENZICHosted by: MC D
SPACE ARENA:
XDREAMAUDIO DAMAGELUKE SPELLBOUNDA'STARZINCEPTIONDNABIPOLARTHA KIDSABINABACK TO BASICSMANTELLOCATSEYESHosted by: MC NAPSTA
"Because EVERY Saturday Night is MASIF!"
ENTRY INFO:
- DOORS OPEN: 10PM- VIP GUESTLIST: $20 [Before midnite]
- GENERAL: $25 [On the door]
- VENUE CLOSES: 5AM
There are NO AFTER HOUR LOCK OUTS at SPACE!
SPACE DRESS CODE:
No gym gear. No track pants. No gym shorts. No caps.
3/4 length pants are fine. Come to party!
If in doubt, we recommend you make a little more effort.
The dress code isn't strict but there are limits.
Don't miss out on a Great Night out because you look too casual.
FACEBOOK:
Masif EventsMasif SaturdaysHard Dance SydneyHard Dance Alliance
WEB:
www.masif.orgwww.youtube.com/masifsaturdays
WANT TO GET ON THE MASIF VIP GUESTLIST?
Send your guestlist to: guestlist@masifsaturdays.com.au
IS YOUR BIRTHDAY COMING UP?
Masif Saturdays offer one of the best birthday packages in town. Please e-mail and reserve your party now: info@masifsaturdays.com.au
WANT TO BE A MASIF SATURDAYS PROMOTER?
Get involved in Sydney's new Superclub night - please e-mail: promo@masifsaturdays.com.au
Need You - Original Mix by Nu Raverz
 | Artist: Nu Raverz Label: Traffic Records Genre: Hard Dance (Hard Dance, Hard House, Tech Dance) Release Date: 2013-06-17Track Length: 4 minutes 47 seconds NEED YOU (ORIGINAL) - NU RAVERZ Nu Raverz bring their unique groove based flava to traffic in what is a superb debut release, a tight warbling bass line sits lush with some swinging beats, the track also features a a nice old school hookline & riff - Get on this! |
Hoover That Manoeuvre by Ryan Jones
 | Artist: Ryan Jones Label: Supercharged Genre: Hard Dance (Hard Dance, Hard House) Release Date: 2013-06-17Track Length: 7 minutes 56 seconds |
Dear Officials: Donât Be Deceived by CHORUS⦠Adopt Real Open Access Policies
With a White House directive supporting it and legislation pending at the federal and state levels, the fight to expand open access to taxpayer-funded research is rapidly gaining momentum. But it's not over yet. Major journal publishers are working hard to stopâ"or at least diluteâ"open access. That's because it's a threat to the traditional publishing business model, which depends on taking the results of research (i.e., articles) and then selling it back to the scientists and their institutions at a massive profit.
The publishing coalition's leading tactic is a deceptive proposal called the Clearinghouse for the Open Research of the United States, or "CHORUS." According to the publishers, CHORUS would create a set of platforms, housed by the publishers themselves, that would help users easily find and access journal articles resulting from federal funding, facilitate article preservation, and "allow text and data mining tools to be applied across publishers' platforms 'under protocols that protect both the user and the source content.'" Â In essence, the proposal encourages the agencies and legislators to just let the publishers handle open access. After all, they're the experts, right?
Wrong. Most traditional academic publishers are experts at just that: traditional models that depend on limited access. Forgive the cliché, but putting them in charge is like letting the fox guard the hen house.
With props to SPARC, which has been battling for open access since 1997, here's the reality:
- CHORUS is all about control: publishers preserve their place as the sole point of access to research, and, by extension, they exert a veto right on innovation and new forms of access;
- CHORUS is cumbersome: The National Institutes of Health (NIH) already houses a wealth of research in its PubMed Central database, which allows easy full-text searching and is interoperable with other publicly-funded databases. Rather than leveraging this existing structure, the publishers want to build their own. Again, it's all about control. While the program promises to allow text and mining tools to apply across publishers' various platforms, those platforms vary widely. Thus, in practice, implementing such tool will be difficult.
- CHORUS forgets about data: Policies such as the White House directive call for open access to articles and data. CHORUS conveniently forgets to provide for linking articles to data.
- CHORUS is not "free": Publishers claim CHORUS will be a "no-cost" solution. But that's just hiding the ball. Publishers receive most of their revenue from subscription fees, which are paid by universitiesâ"including many public universities. Publishers will doubtless pass the cost of building CHORUS onto subscribers.
We hope that agencies and legislators who are considering how to implement open access are not fooled by CHORUS. It's time for real open access. Here's how you can help.
Related Issues:Â
Sexy Bitch - Donk Mix by Crazy Klubber
 | Artist: Crazy Klubber Label: Revolution Corps Genre: Hard Dance (Bounce, Hard Dance, Hard House) Release Date: 2013-06-15Track Length: 5 minutes 18 seconds Mr Crazy Klubber returns after a long time out of the studio with a pair of great bounce tunes! |
Pary Rocks! - Donk Mix by Crazy Klubber
| Artist: Crazy Klubber Label: Revolution Corps Genre: Hard Dance (Bounce, Hard Dance, Hard House) Release Date: 2013-06-15Track Length: 5 minutes 07 seconds |
Good Ole Days - Original Mix by Abzolution
 | Artist: Abzolution Label: XTRAHard Records Genre: Hard Dance (Hard Dance, Hard House) Release Date: 2013-06-15Track Length: 6 minutes 46 seconds A nice energetic hard house track coupled with catchy driving acid + vocals,and phased leads. |
I Got Ya - Original Mix by Matt Clarkson & Jay Lowe
 | Artist: Matt Clarkson & Jay Lowe Label: Tempo Trax Genre: Hard Dance (Hard Dance, Hard House) Release Date: 2013-06-15Track Length: 8 minutes 49 seconds Massive anthem alert!! Matt Clarkson & Jay Lowe deliver this absolute monster of a track! The Bass line chugs along with superb stabs and filtered synth's, leading up to the epic breakdown! |
Wildstylez Lights Out Tour Feat. Wildstylez (NL), Alpha² (NL), MC Villain (NL)
Sunday, 9th June 2013
Home Nightclub, Tenancy 101, Cockle Bay Wharf, Wheat Road, Darling Harbour
In a 3-day tour across the east coast of Australia during the upcoming June long weekend, hardstyle prodigy Wildstylez will light up your local club like never before! The Wildstylez Lights Out Tour will visit Brisbane, Melbourne and Sydney on June 7, 8 and 9. Performing alongside Wildstylez are the Alpha Twins and MC Villain, topped with the best DJs from each local scene.
Check the full line-up for the Sydney event below and join us in what's promising to be one epic long weekend!
MAIN ARENA:
Wildstylez (NL)
Alpha² (NL)
MC Villain (NL)
Toneshifterz (Elie)
S Dee
Dillytek
The Strangerz
Fanatics
HSB
The Khemist
AREA 2:
Audio Damage
Nik Fish
Luke Spellbound
Kamikaze
Tha Artistz
Pulsar
TezzR
Arbee
G-Luv
Nasty
Lihan
A-Starz
MC D
AREA 3:
Hardforze
DBS
Nomad
Nathan Cryptic
Splinta
Ultraviolence
Dexi
Hard Kitty
Micky D
Nik Import
Cantosis
Krish Titan
VLN
DJ Bennett
MC Riddle
AREA 4:
Talent area: DJ Contest Winners
Visit the Tour website for more info.
(Hosted by MC Napsta)
This event is supported by Q-dance.
ok to cleanse my soul - post league, here's some bouncy melbourne banger (sounds a bit like early 2000 gritty H-trance to me)
Savage - Swing (Joel Fletcher Bootleg)
Â
Savage - Swing (Joel Fletcher Bootleg)
- www.luckyent.com - Please contact Luke for all Bookings/Enquiries: luke@luckyent.com
Â
PUT YOUR FUCKING HANDS UP
Hardstyle es un género proveniente de la música electrónica con influencias del Hard Techno, HardHouse, Acid House, Hardtrance, gabber y techno. El hardstyle normalmente consiste en un profundo y fuerte sonido de golpes, intensas lÃneas de bajo descontroladas o invertidas que acompañan el ritmo, un sintetizador tocando una melodÃa, y sonidos desafinados y distorsionados. Tiene algunas similitudes con el Hard trance. Hubo una variada cantidad de artistas de la corriente Hardcore que produjeron hardstyle en su comienzo y que se popularizo por ser un sonido mas bailable.
Halo 4: A Fan's Review
343's first Halo game, Halo 4, has been out for over six months now and it's impact on the Community has been profound in both the negative and positive impacts. In this review, however, it'll be from my point of view. What did 343 do wrong, what did they do right? Actually, you know what? No. This review is going to be mostly what pissed me off about Halo 4. If you want a positive one, go read IGN or something. 1) User Interface Design This is the absolute worse aspect of Halo 4. It's User Interface is a complete, disjointed mess that follows the Windows 8 design mantra of making things as difficult as possible for users to actually use. It abandon's Reach's excellent UI in exchange for a weird, player card based interface that requires more clicks just to do basic things. It also is painfully blue. It's stomaching flipping bad design. In addition, music always plays. I'm fine with Reach's or Halo 3's ambient/white noise that plays but Halo 4's constant barrage of bass, wailing monks and mass effect/battlefield-esque techno/radio buzz. 2) Story/Characters 343, I expected better of you. I expected a group of people like yourselves, self-proclaimed fans of the Halo franchise, to actually give a damn about the story. Instead, you are aiming to simplify it even more. Sure, Halo 4's campaign had some excellent moments and it was tightly written compared to the disjointed mess that was Halo: Reach, but it still pales in comparison to other franchises. The Halo franchise has such depth, such personality and you squander itâ"instead of giving us something new, powerful and impacting, we are 'treated' to a simple story that seemed rushed at best in many parts. You rushed the interaction between characters, made Lasky a one-dimensional officer incapable of rational thinking, Andrew Del Rio simply exists to get knocked down by John-117 and Commander Palmer is a pathetic excuse for a character, much less a military "professional". To further the complete mess of characterization occasionally inherent in the narrative, the MAIN VILLIAN isn't even explained past 'ok, bad guy, did bad stuff, go shoot shoot'. It's only revealed almost six months later what his motivations were and what happened to him to the main populace. This is NOT how you write a story. Most of the players of Halo aren't super-nerds like myself who know everything to Halo's universe, be it Vice Admiral Preston Jeremiah Cole's birthday to the exact location where James Ackerson was executed by a Brute. Most gamers aren't going to invest the 1000+ dollars I have in Expanded Universe material, they are going to play campaign, get the achievements and go off to play multiplayer. The story needs to be concise, well explained, and one that can stand on its own. In addition, it needs to be able to have atmosphere and replayability...something that even the mess known as Halo: Reach had. Halo 4's campaign lacks atmosphere and replayability. NONE of the levels except for perhaps Composer have the same atmosphere and diversified environments that Reach or Halo 3 had. The final level in Halo 3 and The Pillar of Autumn in Reach are excellent and are what levels should be based off of in terms of design, atmosphere and overall impact. Instead of increasing and improving the strong gameplay mechanics, we are instead given the same corridor shooter with hilariously incompetent hostile and allied AI. 343, you said you were investing heavily in the Campaign, but I'm not seeing it. I've defended you guys from the rabid hate occasionally spewed against the company on sites, but right now, I can see where it lies. You guys seem incapable of actually addressing issues and instead close your eyes, cover your ears and whistle. Simplifying the story isn't the proper way to tell one, actually explaining stuff and making full 3 dimensional characters with a tight, concise plot with smart events and character interactions, IS. 3)Multiplayer Some parts are really good, some parts are absolutely horrid. The Maps are absolute crap. Honestly, they aren't high-grade at ALL. I'd bring up in balances but that has been neutralized semi-effectively via the recent patches and back-end tuning. 4) Forge Halo 4's forge is somewhere between Halo 3's and Halo Reach's. Overall, it feels like a step backwards. 5) Graphics. Nothing, they're fine except for close-up, they are Halo 2 quality. 6) Net Code It's a hell of a lot better than Reach's. 7)Spartan Ops: Hard Men Making Hard Decisions In A Hard World Spartan Ops is the absolute WORSE STORY EVER TOLD IN HALO'S HISTORY. Why? Its characters are one-dimensional, incompetent twats incapable of actually doing anything logical. Sarah Palmer is a hot-headed, sloppy bitch that isn't fit to be enlisted into the military. Instead of using actual, military tactics, this UNSC seems...and especially ms. Palmer...to resort to Zapp Branigan's rules of war. Even then, they are missing about half the book which covers how a military exercise is to be done. Halsey is vilified even more by 343, the writing is a sloppy, repetition-prone mess not fit to even be in a fan-fic, gameplay is a repetitive mess, maps are over used, the actions of characters are idiotic, the UNSC seems to have hired a bunch of idiotic undergrads to study the Forerunner tech. I could go on and on and on about the idiocy of SpOps but I'll just sum it up as a disjointed, sloppily written mess that is an abomination to the written, spoken and visual word. 7) Music Some pieces, mainly by 343's in-house guy are excellent while Neil Davidge's are hit-and-miss. Some are really impactful and emotional (Green and Blue, Solace) while some are absolutely horrid (Awakening and the SpOps main theme). 8) Sound Effects They're good. 9) Prometheans Reskinned Covenant. When I heard about the Promethean Knights, I thought 343 was going to make them an actual difficulty to fight instead of a bunch of bionicle-rip off mooks. I thought these were going to be horrifying beasts that would take a lot of cunning, skill, and well-timed execution to neutralize that soak up innumberable amounts of fire power and munitions. The only way to take them down is by outsmarting them. unfortunately, that's not what we got. We got a bunch of reskinned covenant with reskinned human weapons. That kind of defines Halo 4. A reskinning without any actual improvements. How sad and unfortunate that 343 decided to take the easy route. submitted by OrionSB to halo link 1 comment
MASIF SATURDAYS presents REBORN FESTIVAL AFTERPART
Saturday 18th May 2013
The REBORN FESTIVAL is on THIS WEEK...and what better way to party after the DONKEY ROLLERS etc than at Australia's #1 Harder St
The REBORN FESTIVAL is on THIS WEEK...and what better way to party after the DONKEY ROLLERS etc than at Australia's #1 Harder Styles club MASIF SATURDAYS!It's going to be one crazy night as we welcome HARD DRIVER to debut at MASIF, plus the World exclusive b2b of STEVE HILL vs LUCA ANTOLINI to lay down some Hard Trance before they jet off to Europe!
LIFE OF THE HARDER STYLES is in the SPACE ARENA featuring a host of the best local DJ's...plus we have special interstate guests DEEPLEX [QLD], JIGZEE [QLD], UFORIA [VIC] and TENSAI [VIC]!!!
MASIF ARENA:
HARD DRIVERSTEVE HILL vs LUCA ANTOLINISUAEPULSARS DEEHSBDEEPLEX [QLD]
NIK FISHNASTYYEVHARD KITTYERIC LIUHosted by: MC D
LIFE OF THE HARDER STYLEZ:
RAVINEJIGZEE [QLD]
FANATICSKAMIKAZETHA ARTISTZUFORIA [VIC]
JTSTENSAI [VIC]
ALTERIOR MOTIVZIVORTHE SAINTBIPOLARHosted by: MC NAPSTA
"Because EVERY Saturday Night is MASIF!"
ENTRY INFO:
- DOORS OPEN: 10PM- VIP GUESTLIST: $20 [Before midnite]
- GENERAL: $25 [On the door]
- VENUE CLOSES: 5AM
There are NO AFTER HOUR LOCK OUTS at SPACE!
SPACE DRESS CODE:
No gym gear. No track pants. No gym shorts. No caps.
3/4 length pants are fine. Come to party!
If in doubt, we recommend you make a little more effort.
The dress code isn't strict but there are limits.
Don't miss out on a Great Night out because you look too casual.
FACEBOOK:
Masif EventsMasif SaturdaysHard Dance SydneyHard Dance Alliance
WEB:
www.masif.orgwww.youtube.com/masifsaturdays
WANT TO GET ON THE MASIF VIP GUESTLIST?
Send your guestlist to: guestlist@masifsaturdays.com.au
IS YOUR BIRTHDAY COMING UP?
Masif Saturdays offer one of the best birthday packages in town. Please e-mail and reserve your party now: info@masifsaturdays.com.au
WANT TO BE A MASIF SATURDAYS PROMOTER?
Get involved in Sydney's new Superclub night - please e-mail: promo@masifsaturdays.com.au
06/19/2013 - Root Division Presents: Strange Bedfellows Panel Discussion and Catalogue Release
Featuring: EG Crichton + Barbara McBane Annie Sprinkle + Beth Stephens Tina Takemoto Chris Vargas + Greg Youmans
Moderated by Curator, Amy Cancelmo
About the Exhibition: Strange Bedfellows is a visual art exhibition exploring collaborative practice in queer art. Featuring the work of over twenty contemporary queer artists alongside ephemera loaned from the San Francisco GLBT Historical Society Archive, the show presents diverse strategies for collaboration and considers multiple authorship as a radical concept.
Strange Bedfellows is a nationally traveling exhibition with accompanying catalogue, and is a fiscally sponsored project of the Queer Cultural Center. The exhibition will debut in San Francisco at Root Division in June 2013 as part of the National Queer Arts Festival, and then travel to the Samek Art Gallery at Bucknell University in Lewisburg Pennsylvania in Fall of 2013. It will next be presented in Chicago for the College Art Association Conference in February of 2014 as the sponsored exhibition of the Queer Caucus for the Arts. Additional funders for the project include Endeavor Foundation for the Arts + Rainbow Grocery.
Exhibition Dates: June 5 - 29, 2013 Gallery Hours: Wednesday- Saturday, 2�"6 pm (or by appointment)
Exhibiting Artists:
Bren Ahearn + Jesse M. Kahn Jordan Arsenault + POSTER VIRUS E.G. Crichton, Barbara McBane + Susan Working Sean Fader Alexander Hernandez* with Rude House Sarah Hirneisen Amos Mac + Juliana Huxtable LaDosha Tara Mateik billy ocallaghan Adrienne Skye Roberts Annie Sprinkle + Beth Stephens with Luke Wilson Julie Sutherland* Tina Takemoto + Angela Ellsworth Chris Vargas + Greg Youmans Angie Wilson + Amber Straus
* Root Division Studio Artist
About the Catolouge: Root Division is proud to present âStrange Bedfellows: Collaborative Practice in Queer Art,â a 70 page full color exhibition catalogue featuring curatorâs essays and interviews with several exhibiting artists. Designed by Micah Rivera www.micahrivera.com, the catalogue will be available for sale for $20.
About the Panelists:
Elizabeth M. Stephens is interdisciplinary artist, activist and educator who has explored themes of sexuality, gender, queerness, and feminism through art for over 20 years. Her current passion is SexEcology: the art of exploring the Earth as a lover. This work is designed to create the desire in others to love, cherish and honor the earth as they would their own lover, instead of expecting the earth to take care of them as one might expect from oneâs mother. SexEcology combines Stephensâ interest in sexuality and ecology in order to help stop environmental degradation and bring about environmental healing and pleasure. Some of her other works include the bronze sculptural installation, The Academic/Porn Star Panty Collection; the road trip performance piece Wish You Were Here; the video installation, Kiss, as well as her ongoing collaboration with Annie Sprinkle in the Love Art Laboratory. She has exhibited and performed in museums, galleries and festivals around the world. For more information about Elizabethâs other work see http://www.elizabethstephens.org/ Annie M. Sprinkle is an internationally known multi-media artist whose work is often studied in History of Performance Art classes, gender studies and film studies at major Universities/Colleges. Sprinkle has continuously toured one-woman theater performances about her life since 1989, such as Post Porn Modernist and Hestory of Porn. One of the pivotal players in the 80âs âsex positive feminist movement,â Ms. Sprinkleâs art work has long championed sex education and equal rights. The film she produced and directed, The Sluts and Goddesses Video Workshop has played in well over 100 film festivals, at museums and galleries, including at the Guggenheim in NYC. She became the first sex film star to successfully bridge into the world of art, and to earn a Ph.D., which she was awarded from the Institute for the Advanced Study of Human Sexuality in San Francisco, in 2002. She is a popular visiting artist at many Universities. Annie Sprinkleâs autobiographical book, Post Porn Modernist broke new ground in art books that include sexually oriented imagery. Her book,Hard Core From the Heart; The Pleasures, Profits and Politics of Sex in Performance was published by Continuum Press for the academic market and won the Firecracker Alternative Book Award (2002). For more information about Annie Sprinkle, go to her other web site, www.anniesprinkle.org.
Tina Takemoto is an artist and associate professor of visual studies at California College of the Arts in San Francisco. Her work examines issues of race, queer identity, memory, and grief. Her current project explores the LGBT experience of the Japanese American incarceration camps during World War II. She has presented artwork and performances internationally and has received grants funded by Art Matters, James Irvine Foundation, and San Francisco Arts Commission. Takemotoâs articles appear in Afterimage, Art Journal, Performance Research, Radical Teacher, Theatre Survey, Women and Performance, and the anthology Thinking Through the Skin. Takemoto is a board member of the Queer Cultural Center and co-founder of Queer Conversations on Culture and the Arts. On occasion, she makes guerilla appearances as Michael Jackson and Bjork-Geisha. E.G. Crichton uses a range of art strategies to explore social issues, history, and site-specific subject matter. She often works within community settings and collaborates across disciplines with performers, writers, scientists and composers, to name a few. Her work has been exhibited in art institutions and as public installations in Europe, Asia, Australia and across the U.S. She is a professor in the Art Department at UCSC and the first Artist-in-Residence for the GLBT Historical Society.
Barbara McBane is a freelance writer, scholar, artist, and film-maker. Former head of Critical Studies at the Pont Aven School of Contemporary Art in France, she also worked for many years as an award-winning sound editor. She has taught gender studies, film and art-related courses at the University of California at Santa Cruz and Davis, and in Ireland and France. She holds an interdisciplinary Ph.D. degree from the University of California at Santa Cruz.
Chris Vargas is a film + video maker whose areas of interest include queer/transgender history, tabloid biography, and radical politics. In 2011, he earned his MFA in Art Practice from the University of California, Berkeley, where he currently teaches digital video production. His solo video work includes Have You Ever Seen a Transsexual Before? (2010) and Libéraceon (2011). With Eric Stanley he is the co-director of the movie Homotopia (2006), as well as its forthcoming feature-length sequel, Criminal Queers (2012). www.chrisevargas.com
Greg Youmans is a film scholar as well as a videomaker. He earned his Ph.D. from the History of Consciousness program at the University of California, Santa Cruz, and from 2012-13 he is a Scholar in Residence of the Beatrice Bain Research Group at UC Berkeley. His research explores the social and political role of queer filmmaking in the 1970s. In 2011, Arsenal Pulp Press published his book on the pioneering, Bay-Area documentary Word Is Out: Stories of Some of Our Lives (dir. Mariposa Film Group, 1977). He is now at work on his second book, âThank You Anita!â: Gay and Lesbian Filmmaking in the 1970s. www.gregyoumans.com 
Moderated by Curator, Amy Cancelmo
About the Exhibition: Strange Bedfellows is a visual art exhibition exploring collaborative practice in queer art. Featuring the work of over twenty contemporary queer artists alongside ephemera loaned from the San Francisco GLBT Historical Society Archive, the show presents diverse strategies for collaboration and considers multiple authorship as a radical concept.
Strange Bedfellows is a nationally traveling exhibition with accompanying catalogue, and is a fiscally sponsored project of the Queer Cultural Center. The exhibition will debut in San Francisco at Root Division in June 2013 as part of the National Queer Arts Festival, and then travel to the Samek Art Gallery at Bucknell University in Lewisburg Pennsylvania in Fall of 2013. It will next be presented in Chicago for the College Art Association Conference in February of 2014 as the sponsored exhibition of the Queer Caucus for the Arts. Additional funders for the project include Endeavor Foundation for the Arts + Rainbow Grocery.
Exhibition Dates: June 5 - 29, 2013 Gallery Hours: Wednesday- Saturday, 2�"6 pm (or by appointment)
Exhibiting Artists:
Bren Ahearn + Jesse M. Kahn Jordan Arsenault + POSTER VIRUS E.G. Crichton, Barbara McBane + Susan Working Sean Fader Alexander Hernandez* with Rude House Sarah Hirneisen Amos Mac + Juliana Huxtable LaDosha Tara Mateik billy ocallaghan Adrienne Skye Roberts Annie Sprinkle + Beth Stephens with Luke Wilson Julie Sutherland* Tina Takemoto + Angela Ellsworth Chris Vargas + Greg Youmans Angie Wilson + Amber Straus
* Root Division Studio Artist
About the Catolouge: Root Division is proud to present âStrange Bedfellows: Collaborative Practice in Queer Art,â a 70 page full color exhibition catalogue featuring curatorâs essays and interviews with several exhibiting artists. Designed by Micah Rivera www.micahrivera.com, the catalogue will be available for sale for $20.
About the Panelists:
Elizabeth M. Stephens is interdisciplinary artist, activist and educator who has explored themes of sexuality, gender, queerness, and feminism through art for over 20 years. Her current passion is SexEcology: the art of exploring the Earth as a lover. This work is designed to create the desire in others to love, cherish and honor the earth as they would their own lover, instead of expecting the earth to take care of them as one might expect from oneâs mother. SexEcology combines Stephensâ interest in sexuality and ecology in order to help stop environmental degradation and bring about environmental healing and pleasure. Some of her other works include the bronze sculptural installation, The Academic/Porn Star Panty Collection; the road trip performance piece Wish You Were Here; the video installation, Kiss, as well as her ongoing collaboration with Annie Sprinkle in the Love Art Laboratory. She has exhibited and performed in museums, galleries and festivals around the world. For more information about Elizabethâs other work see http://www.elizabethstephens.org/ Annie M. Sprinkle is an internationally known multi-media artist whose work is often studied in History of Performance Art classes, gender studies and film studies at major Universities/Colleges. Sprinkle has continuously toured one-woman theater performances about her life since 1989, such as Post Porn Modernist and Hestory of Porn. One of the pivotal players in the 80âs âsex positive feminist movement,â Ms. Sprinkleâs art work has long championed sex education and equal rights. The film she produced and directed, The Sluts and Goddesses Video Workshop has played in well over 100 film festivals, at museums and galleries, including at the Guggenheim in NYC. She became the first sex film star to successfully bridge into the world of art, and to earn a Ph.D., which she was awarded from the Institute for the Advanced Study of Human Sexuality in San Francisco, in 2002. She is a popular visiting artist at many Universities. Annie Sprinkleâs autobiographical book, Post Porn Modernist broke new ground in art books that include sexually oriented imagery. Her book,Hard Core From the Heart; The Pleasures, Profits and Politics of Sex in Performance was published by Continuum Press for the academic market and won the Firecracker Alternative Book Award (2002). For more information about Annie Sprinkle, go to her other web site, www.anniesprinkle.org.
Tina Takemoto is an artist and associate professor of visual studies at California College of the Arts in San Francisco. Her work examines issues of race, queer identity, memory, and grief. Her current project explores the LGBT experience of the Japanese American incarceration camps during World War II. She has presented artwork and performances internationally and has received grants funded by Art Matters, James Irvine Foundation, and San Francisco Arts Commission. Takemotoâs articles appear in Afterimage, Art Journal, Performance Research, Radical Teacher, Theatre Survey, Women and Performance, and the anthology Thinking Through the Skin. Takemoto is a board member of the Queer Cultural Center and co-founder of Queer Conversations on Culture and the Arts. On occasion, she makes guerilla appearances as Michael Jackson and Bjork-Geisha. E.G. Crichton uses a range of art strategies to explore social issues, history, and site-specific subject matter. She often works within community settings and collaborates across disciplines with performers, writers, scientists and composers, to name a few. Her work has been exhibited in art institutions and as public installations in Europe, Asia, Australia and across the U.S. She is a professor in the Art Department at UCSC and the first Artist-in-Residence for the GLBT Historical Society.
Barbara McBane is a freelance writer, scholar, artist, and film-maker. Former head of Critical Studies at the Pont Aven School of Contemporary Art in France, she also worked for many years as an award-winning sound editor. She has taught gender studies, film and art-related courses at the University of California at Santa Cruz and Davis, and in Ireland and France. She holds an interdisciplinary Ph.D. degree from the University of California at Santa Cruz.
Chris Vargas is a film + video maker whose areas of interest include queer/transgender history, tabloid biography, and radical politics. In 2011, he earned his MFA in Art Practice from the University of California, Berkeley, where he currently teaches digital video production. His solo video work includes Have You Ever Seen a Transsexual Before? (2010) and Libéraceon (2011). With Eric Stanley he is the co-director of the movie Homotopia (2006), as well as its forthcoming feature-length sequel, Criminal Queers (2012). www.chrisevargas.com
Greg Youmans is a film scholar as well as a videomaker. He earned his Ph.D. from the History of Consciousness program at the University of California, Santa Cruz, and from 2012-13 he is a Scholar in Residence of the Beatrice Bain Research Group at UC Berkeley. His research explores the social and political role of queer filmmaking in the 1970s. In 2011, Arsenal Pulp Press published his book on the pioneering, Bay-Area documentary Word Is Out: Stories of Some of Our Lives (dir. Mariposa Film Group, 1977). He is now at work on his second book, âThank You Anita!â: Gay and Lesbian Filmmaking in the 1970s. www.gregyoumans.com
Boys Noize previews a new "analog techno" track, Native Instrument's Kontrol X1 MK2 details leaked, A-Trak drops a new video, an
Calling an outfit "the worst band in dance music" is a rather bold statement, but some of found a group they think fits the profile. We've read the facts, heard the music, and tend to agree. Find out who that is below along with the rest of the tasty updates we've gathered to get your day started 
Video Exclusive: Beady Eye
Behind the scenes on Clash's cover shoot...
Clash is pleased to present special behind-the-scenes footage of the cover stars of Clash's current double summer issue, Beady Eye.
The Liam Gallagher-fronted five-piece's second studio album, 'BE', is out now and reviewed here.
Beady Eye are interviewed at length in the new issue of Clash - available here - but below we've chopped-and-slopped a wee excerpt. Because we're nice like that.
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What were your initial ideas for what the second album would be?
Liam: We demoed all the songs that are on this album, and they were good; we could have gone in and made it like that and it would have been stuck in that â60s kinda rut - but I like that kind of thing. So it would have still been good, but I guess it would have been âDifferent Gear, Still Speeding Part Twoâ, you know what I mean? Weâre always up for a bit of change - weâre always up for doing something different - but until itâs in front of your face and your ears, itâs hard to tell what you want to do. So with previous producer Dave Sardy, Scott, our new manager, he said, "Look, you donât want to go in with the normal producer, youâve got to go with someone whoâs a little bit out of your comfort zone." I went, "Cool. Letâs f*ckinâ check it out."
The first day I met Dave Sitek was in the studio. I liked a bit of the Yeah Yeah Yeahs - Iâve never really heard much about his band (TV On The Radio) - and then he just started f*ckinâ playing us what heâd done to the demo of âFlick Of The Fingerâ. I thought, "F*ckinâ yes." It had a dark and menacing edge to it that we didnât have. And then when he got âSoul Loveâ out, heâd started putting all these atmospherics on it and cosmic f*ckinâ shit - ambient stuff that we wouldnât normally do. So thatâs when we thought, "Yeah, this is it, man."
How do you define what a Beady Eye song is?
Liam: A Beady Eye song has got to have attitude, itâs got to have a great melody, great chords - youâve got to be able to play it on acoustic, you know what I mean? Thatâs how I measure a good song: if you can f*ckinâ sit there and strum it on the acoustic guitar in your house to your dogs and it still sounds good, then thatâs the sound of a good song. Then once you put all the other shit on it, then obviously it gets better, I guess.
Andy: At the beginning of the demo session we were like, "Letâs direct ourselves at a cross between George Harrisonâs âWonderwall Musicâ soundtrack and âAll Things Must Passâ." We had a sort of orchestral Simon and Garfunkel epicness.
Gem: Yeah, Liam was banging on about Simon and Garfunkel a lot, but what we actually wanted from the lyrics and the melodies was just real strong songs, man. Emotion, directness, vulnerability, hope, broken hearts, paranoia; the usual kind of adult emotions that you pick up.
Andy: With the first album we would have been saying, "Right, we need rock ânâ roll. It needs to be lairy, lean and mean. We donât want to have any indulgent bits on it - not too many guitar solos - we just want it to be arranged to play the fuck out of live." So that was the message there. The message now was more like a bit of headspace. Dave saw that in the tunes and he brought a whole lot of ambience to it as well that we wouldnât have got near without him. Dave added the ambience, the chaos, the invention, the questioning - we questioned every tune on the day. We came out with an amazing record that at times is space rock, other times is ambient, at times it is like Hawkwind, and at other times itâs like Oasis or Beady Eyeâs first album; it kind of runs through the whole spectrum.
Read the full interview in the new issue of Clash, out now
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Interview: Simon Harper
Magazine photography: Neil Bedford
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Warriors & Goddesses 3 "Massive Theme Rave" Studio 69 / Swoon Events & Ent at Perish's Studio 69 (333 L
