The venue has been dismantled after running into financial difficulties, though there are plans for it reopen under a new name in 2019.
Popular Paris boat club Batofar has closed for good.
Moored in the 13th arrondissement since 1999, the red tugboat ran into financial troubles earlier this year, according to daily newspaper Libération. It was initially due to shut for renovations, though they never materialised. A 17-hour closing party, scheduled for February 3rd, also never happened. More recent photos show the red boat being dismantled. (See right.)
Libération also reports that the venue will reopen in summer 2019 as a salsa club under a different name, Faro Faro.
For almost 20 years, Batofar was a vital and trusted spot for underground house and techno fans. Recent guests include Tin Man, Xosar and Djrum.
The US DJ was reportedly detained in Fukuoka on Saturday afternoon after customs officials found 0.3g in his possession.
David Morales was reportedly arrested in Japan over the weekend on “suspicion of smuggling” 0.3g of MDMA.
According to national newspaper Asahi Shimbun, the Grammy Award-winning artist was travelling from Hong Kong to Fukuoka on Saturday afternoon when customs officials found a small bag containing the class A drug in his carry-on luggage. Morales denied it was his, claiming that someone else put it there. “He was arrested for allegedly violating the law on narcotics and psychotropics control,” a police spokesman told news agency AFP.
Japan has a zero-tolerance policy on drugs. The penalty for possession of class A substances for personal use, however small the amount, carries a maximum prison sentence of seven years and a fine of ¥3 million (£19,821).
Morales was due to perform at Fukuoka club Bijou on October 6th, followed by an appearance in Tokyo the following day. On Saturday evening, the promoter of the Fukuoka show posted on Instagram saying that Morales wouldn’t be attending because he was “sick.”
Resident Advisor reached out to Morales’s team, who said they’re “unable to comment at this time, but will share further information with you as and when we’re able to do so.”
We’ll bring you more on this story as we have it.
The legislation aims to revamp existing laws so musicians and labels are better compensated by streaming platforms.
President Donald Trump signed the United States Music Modernization Act into law today.
The act, which passed unanimously through the House and Senate, aims to update antiquated US copyright and licensing laws for the streaming era.
Specifically, its goal is to simplify the process of licensing music so that rights holders are more fairly compensated when their music is streamed online. It will iron out the most complicated part of the process—figuring out who the rights holders are—by creating a single licensing database called the Mechanical Licensing Collective. The MLC will ensure that payouts end up with the correct artists and labels.
It also includes a piece of legislation called the Allocation for Music Producers Act, which specifically aims to get producers and engineers better royalty payouts from satellite and online radio (it’s the first time producers have been mentioned in US copyright law).
“You like this legislation or do you hate it?” Trump reportedly asked his invited guest Kid Rock during the signing ceremony this afternoon. “I like it,” replied Kid Rock.
New legislation that calls for major updates to the United States’ music copyright and licensing laws passed the House of Representatives yesterday by unanimous vote.
The Music Modernization Act, also known as House Resolution 5477, bundles together a handful of bills that, as a key sponsor in the House put it, “brings early 20th-century music laws for the analog era into the 21st-century digital era.”
One big change is the creation of a blanket mechanical license, which digital providers can obtain as protection against copyright infringement lawsuits, and a new agency whose mission will be to track credits on streaming and other digital services and collect and distribute royalties. The agency would be similar to SoundExchange, a non-profit that is currently the only digital royalties distribution entity authorized by Congress. HR 5477’s other measures include the development of a system of market-based royalty rate standards, new protections for recordings made before 1972 and the addition of royalties for producers and engineers.
Left unaddressed are performer payments for over-the-air radio play—Inside Radio says the National Association of Broadcasters and the music industry aim to iron out a compromise on that front without a government mandate.
Industry supporters for HR 5477 include the Recording Academy, RIAA, ASCAP and BMI, along with the Digital Media Association, which represents the likes of Apple, Amazon, Google, YouTube and Spotify.
The bill passed the House with an expedited 415-0 vote—a rare display of bipartisan cooperation in US government that suggests it’ll make it through the Senate and onto the president’s desk. The Senate’s Judiciary Committee plans to begin its own deliberations in mid-May.