Annie mac house party channel 4 youtube

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In august , annie mac was one of the djs selected by channel 4 to hold a live sixhour, televised house party on. House party, a broadcasting first, went out live on channel 4 24 august from midnight till 6am.


Msn outlook, office, skype, bing, breaking news, and. Annie is an age old story of an orphan struggling to survive and is magically swept off her feet by a reluctant grouch who suddenly gets a warm heart and yadda yadda yadda.

Kvoa news4tucson tucson, arizona investigating 4 you. Channel 4 house party tracklists overview home sources channel 4 house party. Channel 4 to run another televised house party rave. Friday night is house party night as channel 4 hands over creative control to six topclass djs in an unprecedented live television event, starting at midnight. Annie mac djd in november , she began hosting annie mac presents on siriusxms bpm in the united states, starting.

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Related news. All about House Party. You might like. The Desert Island Discs quiz: Can you match the celebrity castaway to the luxury item? Almost two hours in I finally succumbed to welcome unconsciousness. Beyond the excruciating dullness, the most harrowing thing about the whole thing was the very concept.

Why on earth would anyone want to celebrate pre-illegal outdoor rave culture and the physical unity of over 40, people by being confined to a sofa in their front room? In its defence, live streaming culture is by no means a recent innovation, nor does it all reach the same heights of vulgarity as Channel 4's concoction.

The DJ’s playlist

In , inspired by the ongoing phenomenon of 'yard casts' which involved the likes of Oneman, Bok Bok and MK performing live from their bedrooms via webcam on live streaming provider Ustream, founder of the now defunct webzine Platform , Blaise Bellville invited DJ and programmer Thristian Richards and Femi Adeyemi, brainchild of NTS Radio, to come along to his office, a s boiler room in Hackney, to play some music in a laid back setting. Initially wanting to create mixes influenced by pirate radio, moving away from the home recorded mixes published by FACT, Resident Advisor and XLR8R, they hooked up their audio to a laptop, taped a webcam to the wall, invited their friends over to hang out and broadcasted the unfolding events online.

What emerged over the next year was the Boiler Room , a weekly platform that invites upcoming and established electronic musicians to come and play live and DJ sets to an online global audience.

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Artists play with their backs to a small, composed audience whilst facing a Logitech webcam, with little or no crowd interaction and completely unaware of the conversation elapsing in the online chatrooms. Any appreciation or critcism is shown through typeface across the chatroom Twitter and Facebook. Of course, give many a pleasant person a computer keyboard and a forum of anonymity and they turn into an insatiable monster, and indeed much of the chat room is often inevitably taken over by a plethora of sexism and offensive trolling.

On a basic level though, it is a platform for constructive discussion, allowing users to establish a dialogue that is predominantly centered on the music. Track IDs are thrown around, people rip world exclusives onto YouTube within minutes of them being played, and with no obvious display of the chat room in the Boiler Room itself, all feedback is only available to those playing post-performance, allowing for an entirely self-indulgent set list with no need for crowd pleasers or party starters. The Boiler Room is by no means the first music platform to broadcast via live stream, but it is the most consistently successful.

Live streaming has proliferated this year, with variatons springing up all across the globe, breaking down the exclusivity that once shrouded such events. NME and Mixmag have both streamed live sessions, while many similar efforts to the Boiler Room attract loyal online followings: On the most part they're designed to promote new music rather than mimic a partying experience.

Dommune in Tokyo for example similarly to the Boiler Room who regularly broadcast on a Tuesday with an 11pm curfew , only stream on weeknights with the specific, though unneccesary intention of not poaching clubbers from the live club scene at the weekend.

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While Channel 4 no doubt has a generous budget to draw from, the reality of sustaining an independent regular music live stream that is accessible to all is a problematic one. The Boiler Room has survived through partnerships with Red Bull Music Academy, Red Stripe and Umbro, with three more brands due to launch partnerships in the near future. There's also an upcoming collaboration with YouTube in January, in which they hope to create a vaster online community, branching out from electronic music and covering a broader range of genres including hip hop and grime, and also further accommodating live bands and artists.

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After speaking to the Boiler Room's organisers directly however, it soon becomes clear that it hasn't always been easy to sustain. Its beginnings tell tales of battered equipment, supplementing funds for new turntable needles and siphoning diesel orally through hosepipes into generators to power a warehouse with no wired electricity.

All artists play for free and all revenue made is put back into its continuous development, which they claim helps to sustain a non-exclusive, non-profit mode of premium content. Conversely, the real apprehension in has been the beginning of the commercialisation of the live stream, the cottoning on of the bigwigs in suits of its unprecedented success and its potential for revenue.

After the apparent success of the first, Channel 4 have another 'house party' planned for New Years Eve, and after that who knows, maybe Hollyoaks will become a giant call-in revolving disco too.

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