I direct your attention to http://www.videosift.com/video/Iron-Wine-Flightless-Bird-American-Mouth-live-music which is also awesome.

No surprises for number 1.

1. VideoSift's Archive of Vintage Classics - 6054 votes received (vintage talk)
2. Music - 5598 votes received (music talk)
3. Comedy - 4160 votes received (comedy talk)
4. Everything geek - 2352 votes received (geek talk)
5. Cute - 2025 votes received (cute talk)
6. 1stTube: the best clips of television - 1995 votes received (1sttube talk)
7. Cats and Dogs + others - 1302 votes received (catsanddogs talk)
8. Rock & Roll - 1124 votes received (rocknroll talk)
9. Animation - 968 votes received (animation talk)
10 Live Music - 908 votes received (livemusic talk)

I'm am surprised about number 7. I'd have thought Cats and Dog would have been in my top 3 since I created the channel.

1. Comedy - 1991 votes received (comedy talk)
2. Animation - 1260 votes received (animation talk)
3. 1stTube: the best clips of television - 1253 votes received (1sttube talk)
4. VideoSift's Archive of Vintage Classics - 1075 votes received (vintage talk)
5. Music - 1019 votes received (music talk)
6. Cinema - 595 votes received (cinema talk)
7. Commercial Sift - 567 votes received (commercial talk)
8. Politics - 424 votes received (politics talk)
9. Live Music - 331 votes received (livemusic talk)
10. Science - 305 votes received (science talk)

1. Animation - 1476 votes received (animation talk)
2. Comedy - 1307 votes received (comedy talk)
3. Matt Groening & Friends Appreciation - 1301 votes received (woohoo talk)
4. Music - 837 votes received (music talk)
5. 1stTube: the best clips of television - 713 votes received (1sttube talk)
6. Arts - 596 votes received (art talk)
7. Everything geek - 482 votes received (geek talk)
8. Dark - 444 votes received (dark talk)
9. Religion... It's the Opium of the People - 420 votes received (religion talk)
10. Live Music - 390 votes received (livemusic talk)

Tags for this video have been changed from '3voor12, heavy trash, live music, rocknroll, elevator' to '3voor12, heavy trash, live music, rocknroll, elevator, john spencer, 00s, amsterdam' - edited by Eklek

Tags for this video have been changed from 'free bird lynyrd skynyrd live music' to 'free bird, lynyrd skynyrd, live, music' - edited by spoco2

Tags for this video have been changed from 'billy joel, piano, man, rock, classic' to 'billy joel, piano, man, rock, classic, billy, joel, piano man, live music' - edited by Zonbie

and a great live cut.
sound levels are just right, and the vocals on-key and unstrained. wewt.

lots of live music i can't enjoy, from some surprisingly good bands, because of those 2 things.

Tags for this video have been changed from 'music, live music, progressive rock, yes, jon anderson, steve howe, british' to 'music, live music, progressive rock, yes, jon anderson, steve howe, british, mullet' - edited by jonny

Tags for this video have been changed from 'music, live music, the fray, beatles, rocknroll, sargent pepper' to 'music, live music, the fray, beatles, rocknroll, seargent pepper' - edited by rasch187

Tags for this video have been changed from 'live, music, phil, ochs, vietnam, war, protest, peace' to 'live, music, phil, ochs, vietnam, war, protest, peace, united fruit' - edited by calvados

>> ^critttter:
OK, I love their music, but they were arrogant and rude to whoever was in that elevator.


Dude, have you ever tried to perform live music? I'm the biggest ass on the PLANET when the show needs to start. Maybe some musicians are chill and humble, but I don't listen to them.

Plus, don't forget they were in Paris where this time of behaviour is to be expected.

Original source - http://www.blogotheque.net/Arcade-Fire

Some background on this glorious *rocknroll *bravo session:

"Win Butler had to slouch a little to fit into the freight elevator. He went directly to the back, leaned against the iron door, turned around, and taking a look at the grudging space, asked us: «Think we can all go back now?» Then he smiled a smile that a kid would give, so pure and honest like he had just found his hiding place. in Butler smiled, and five weeks of work seemed to crumble before us.

During those weeks I had been in continual contact with Vincent Morisset, who runs the Neon Bible site. Win and Régine had been responsible for coordinated our Take Away Show. We had discussed dates and places, imagining the Madeleine at night, the knoll at the Île de la Cité, an old café, a roundabout behind the Olympia...We checked the weather every day, put to despair by the cold front that’s passing through Paris. We had surveyed the entire inhumane neighborhood from top to bottom, trying to anticipate the crowd, the will power of the group, the cold, and the fatigue. Then suddenly we had a plan. Win asked if there was a freight elevator. We found it, he smiled, and the Take Away Show was no longer in our hands."


Some more after the cut:


We knew that the Take Away Show with Arcade Fire wouldn’t be like the others. The project was born for them because they’re of a different kind, a different essence. We had spent the afternoon with them and suddenly we realized, in a flashing instant, that «yes, this group is different.».

We had been playing the role of outsider the entire day, like a foreign body that latches onto the daily grind of these magnificent musicians. We had to adapt, through astonishment and wonder, as the band took up their tools and started to play. But Arcade Fire didn’t take us as outsiders. It seemed to unfold naturally: we entered into their logic, as they awaited us and eventually swallowed us up. It was now Win Butler’s Take Away Show, and we followed.

It was too cold to play outside after the show, so we initially thought about playing in the entrance hall during Electralane’s performance, but the Olympia didn’t allow it. All we had left was the freight elevator, and we had to do a little convincing to make it happen. On the other side of the elevator there was a door that would lead us into the concert hall. They could go back to the pit in the Olympia by exiting through there, and then re-exit through the door near the stage. Win wasn’t so hot on the plan...the venue was a little too big and it the whole thing sounded complicated. It took us about 20 minutes to convince him, not knowing at all what was waiting for us at the other end of this crazy idea. Win went back to tell Richard and Will to follow him to the elevator, with everyone asking when to play, or whether this was going to happen before or after the show. It’s going to be before. Régine was the only one who thought differently and there were a couple seconds of exchanging furious looks, which immediately settled and eased into resolution. The big guy won, and everyone went back to reconfigure the set-list.

Arcade Fire is a unique group. Everyone’s split up during the day, managing and wandering through his/her own affaires in the dressing rooms and corridors. No one seems to move about as much as Win, who manages everything, knows everything, watches everything, and hears everything. Afterwards, as show time approaches, everyone slowly comes together again, each still folded into him/herself. A couple notes sound from a bugle, Régina taps on a box, Jérémy amuses himself with a drum, and Tim does a little Monty Python dance. A mobile cacophony, a music that takes form, several people coming together, and some random and various snippets of songs to come. Everyone is concentrating alone, but at the same time following a trace towards the group’s uncanny unity. As the orchestra tuned and grew powerfully aligned, we started towards the elevator.

The rest waits on film. We all bunched into the elevator, and I took my position at Richard’s feet. They started off with an enchanting version of «Neon Bible» and then door opened, allowing us to approach and penetrate the massive torrent of fans. I didn’t think about anything more. I was taken by the fervor, watching Vincent Moon with his camera, screaming in silence, and thinking over and over again:

«We did it. Shit, we really did it!»


Amazing. I dare you not to feel *happy watching this bit of *shortfilms.

1. Slow speed when they happen.
2. People beating me in submitting videos that I wanted to submit.
3. Lack of votes in my submitted videos.
4. Siftbot is a jerk.
5. VS addiction. (thanks a lot ).
6. Lack of livemusic for live music videos.

that's bollocks. file under "awweeeesum!!!!! (for 5 minutes)".

there's only 2 methods that have caught on enough so that you don't have to take the kit to the club with you: CDJs and turntables.

Then there's the final scratch / serrato guys who come along and annoy everybody by plugging in loads of cables to their laptop, which then crashes or runs out of battery (seen that happen to grooverider).

This system in comparison is expensive, heavy, fragile, large, and never gonna catch on. Added to that, a touchscreen is neither tactile enough nor fast enough. Perhaps the guy demonstrating this is just a shit DJ, but I expect he is being restricted by the performance of the system. Already there is a sense of "detachment" when playing CD instead of vinyl, and this system here just takes that detachment to a whole new level. In music, a delay of more than about 5ms can be noticeable and ruin your flow.

There is no benefit for the DJ here, just cool tech. (the large waveform display is not much more useful than the small display on serrato anyway, and anybody serious about scratching the record would use real vinyl or one of those technics CDJs with the real motor in it), and the audience can't even see your "kewl" screens, and they don't give a shit anyway...
most people don't even realise that DJs actually change the speed of records to blend them together. They don't realise, because they never tried to find out, because they don't give a shit.

So this looks to me like one of those "kewl" things that might eventually become the future, but only after several technological limitations are lifted. E.g if i could roll these two screens up and stick them in a small backpack, then we might start talking. but of course, if these things were light, they would move around the table when you touch them. Hmmmm.

But remember... most venues don't have space on their table for this shit, so you end up being restricted by a very basic and primitive limit. If you design your show around this technology you won't be able to play in a large percentage of venues. The main reason CDJs became standard was because they are small, cheap, and CDs are very very very universal. And CDs aren't heavy.

Sell this technosplurge to Bjork or something. Get Microsoft to buy you out because you are "youth" or whatever. Wait 20 years and you won't even need a screen, it will all be about waving your hands in the air or just "thinking" about the mix while wearing a braintooth headset. anyway by then live music will have killed the DJ. mark my words.

But lets face it, the music I just heard in this video was bullshit, not even in rhythm. Sort that out first, yeah? Music > tech.

kulpims wanted it, and so did I!....Jazz genre needs representation-music is too general-we have live music, rock, bravo(classical),hiphop, now a place for Jazz and Blues