“Next to water, music is the most essential element of our existence.” This is the kind of Philosophy that has molded the works of Khuent Rose. Born January 16, 1985 and raised in the Afro/ Latin- Caribbean haze of Brooklyn, New York, he was able to reconcile his Honduran, Costa Rican, European and Amerindian ancestries into a seamlessly unique music style. Heavily influenced by the music of the Church, the Steel band, and the plurality of the Caribbean, his works represent the colorful people and history that his Brooklyn home emanates. 

At an early age, Khuent was remarked to have a strong disposition to the art of music. Often staying home and listening to recordings of Bach, Beethoven, Haydn, Luis Guerra, Celia Cruz, Hector Lavoe, Tito Puente, Sparrow, Lord Relator, Lord Kitchener, Louis Armstrong, Thelonious Monk, Art Tatum, Michael Jackson, Ray Charles, Quincy Jones and countless others that his father- a native Costa Rican- had at his disposal. Even at church with his Honduran mother he was known to make his way to the piano or organ whenever he could to faithfully reproduce something that had been sung or played earlier that day. This sparked enough of an interest that shortly after a modest keyboard was given to him around the age of 9 (that he still possesses) to practice with. 

Adamantly, refusing to attend lessons and determined to educate himself, Khuent did just that and soon became fluent at sight-reading elementary piano music and basic theory by the age of 10. It was also during this time that his love affair with the art of the steel pan was also fostered. After attending WIADCA pre-Labor Day Panorama Competition, he was completely imprisoned to the instrument and its powerful allure.  He Joined the Casym Steel Orchestra where Dwight DaSilva was the band Captain and was an active member for over 10 years. While under the leadership of William Jones and Arrdin Herbert, Khuent Rose went from being a player to an instructor and even partook the cap of arranging with the band.  During his residence with the organization he performed at easily over 1000 venues with crowds at times in excess of 20,000.

Such was the case of Khuent’s entries into the steel pan competitions of both New York and Trinidad. As a soloist he received mixed accolades ranging from the “peculiarity” of the performance to the “brilliance of the compositions” themselves. Though victory had never been his stated intention when partaking in these competitions, he did at least enjoy coaching others into improving themselves to perform better. Immediately after graduating Midwood High School with high accolades, Khuent traveled to Florida Memorial University (Steel pan performance/ jazz influenced) under the tutelage of one of the most dynamic forces in the steel band international community Dr. Dawn Batson-Borel. Of all his mentors she was by far the most iconoclastic. She fed him the sobering realities of his art and his personal shortcomings with a hand full of honey. He was also closely influence by several members of faculty namely, Melton Mustafa  (Jazz), Dr. Richard Yaklich ,Feliz Spengler and students like Freddie Harris, Collins Peters, Joanna White, and Alea Nicholson. During his stay there he had advanced so rapidly that even the faculty had suggested that other venues would have probably been better suited for his studies; so said so done. He returned to his Brooklyn home after two years of attendance at FMU.

An illustrious sense of harmony and minimalist melodic structure became the corner stone of his composition style exiting the Florida school. He continued his studies at Brooklyn College (Music Composition), ironically across the street from the very high school that he had attended. It was also during this shift of collegiate venues that his spiritual venues also shifted. His desire to reconnect with his traditional African spirituality and culture nagged him insistently. He made several attempts to manifest this growing desire through songs in honor of his ancestors and local historical figures of West African Indigeno

DJ Marcus Aurelius (馬克思)
Ten years is a long time to be perfecting any skill, but 2014 marks DJ Marcus Aurelius’ first decade in the DJ game. From hauling crates of records all around Asia to make people move on any type of dance floor to being technically proficient enough to be one of the hand-picked contestants in the Red Bull Thre3style competition by his peers, Aurelius has had long and illustrious DJ career so far. 

Aurelius is not slowing down anytime soon. 

Expect classic hip-hop, foot-stomping funk, smoothed-out soul, sweaty dancehall, head-nodding house, groovy moombahton, ticked-out trap and booty-shaking twerk sounds of the past, present and the future mixed, remixed and refixed in ways that are pleasing to even the most finicky club-goers’ ears when Aurelius is behind the decks. 

Besides headlining at all the biggest clubs in Taipei, Taichung, Kaohsiung and all over China, Aurelius has been an integral part in building the underground music scene by introducing Taiwan to parties on beaches, at pools, on ice skating rinks, and in roller rinks. For the past four years, Aurelius has worked with frog in a sock for Havana pool parties, Resurrection Halloween parties, and The Last Minute New Year’s Eve parties, all which have gotten bigger and better every year. 

Expect 2014 to be a banner year for Marcus Aurelius as it is truly the year to GO BIG!

DJs Opened up for:
Major Lazer
Miguel Migs
Diplo
Grandmaster Flash
Skerrit Bwoy
LMFAO
Fat Man Scoop
Dave Nada
South Rakkas Crew
Sammy Bananas
Skratch Bastid
Chuckie
MC Jin
The Gaff
Aquasky
Atomic Hooligan

Brands worked for:
Red Bull Music Academy
Nike
Cottingham
The Venetian Casino (Macau)
Marina Bay Sands (Singapore)




CNBC TV18's 'The Firm' is Indian television's only show that covers corporate law, M&A, financial regulation, tax and audit matters.

The show was born in early 2008, of the belief that as India globalised, operating issues of law and tax would become core to corporate strategy. Already 2006 and 2007 had proved that India INC had tremendous appetite to go global. Billion dollar acquisitions, with targets operating across several jurisdictions...managing regulatory and tax risks had moved from being the burden of an under-populated in-house legal team to the offices of the CEO and CFO. And so we believed, 'The Firm', by exploring cross border M&A rules, tax policies, financing structures etc, would surely find an audience.
By late 2008 we had expanded our coverage to include bankruptcy filings, MTM accounting and changing international financial regulations. Since then our brief has only expanded. By 2009 it included the several important domestic commercial laws that were being, written, re-written or tweaked.

The Competition Act, The LLP Bill, The Companies Bill, The Direct Tax Code, GST, IFRS, Takeover Regulations...'The Firm' has devoted substantial time and effort in analysing and debating these impending legislative and regulatory changes.
The battle against tax havens, the confusion regarding GDR voting rights, the invalidity of ROFRs, the validity of negative rights...we've examined several legal grey areas.
When news of the Satyam fraud broke...'The Firm' spoke to scores of Independent Directors and Auditors to better understand their roles, responsibilities and liabilities. 

Corporate Governance is a pet topic on the show and we try hard to keep India Inc. abreast of governance trends across the world.

Ranbaxy-Daiichi, Bharti-MTN, Reliance-MTN, Bharati-ABG-Great Offshore, Inox-Fame-Reliance Media Works and Bhart-Zain...every big deal has had our undivided attention.
Transfer-pricing, Withholding tax, Anti-Avoidance and the famous Vodafone case...we've spent hours informing audiences of the tax road blocks awaiting them.

AS 11, ICAI's shortcomings, Loss Accounting, the transition to IFRS...accounting issues too have been front and center.
Last year, 'The Firm' presented it's first special series: 'Rules Of The M&A Game' - a 5 part series with 11 guests debating the changes needed to India's Takeover Code. Later in the same year, we created yet another special series- 'Business Sutra' - on Leadership & Governance.

Over the three years of its existence, India's finest legal, tax and financial minds have been guests of 'The Firm'. Law firms such as Amarchand Mangaldas, AZB & Partners, Khaitan & Co, Luthra & Luthra & Trilegal have shared expert opinions with us. As have illustrious counsel such as Amit Desai, Aspi Chinoy & Harish Salve. CFOs and in-house counsels from the houses of Tata and Birla, Infosys, L&T, HUL, Godrej Essar are also frequently on the show, sharing their wealth of experience. And not to forget - tax/audit/consulting firms, including the Big 4 firms, are frequent guests.

We've often reached out to the best international opinions from Linklaters, Shearman & Sterling, Cravath Swaine & Moore, Wachtell Lipton, Simpson Thacher, Goodwin Procter, DLA Piper, drawing upon their expertise to keep abreast of global trends.
The views of this collective have helped focus our debates and, we'd like to believe, also shaped regulation & law. An endeavour we hope to be in pursuit of for a very long time.
To get in touch with us, please write to us at thefirm.cnbctv18@gmail.com

One cannot separate suffering from existence... that's the lesson Buddha Monk learned growing up in the streets of Crown Heights, Brooklyn. But as he continues his inward exploration, Buddha Monk elevates above the snare of the streets, taking his people with him. That is bliss. “Knowledge of the Buddha consists of analyzing different thoughts,” he says, “and making them work toward a better nation a higher level so we can help those who can’t help themselves.”
 The late Russel Jones a.k.a. Ol' Dirty Bastard of the legendary Wu-Tang Clan gave Buddha Monk his name. They've known each other since childhood, growing up in the same neighborhood and bumping into each other at parties at The White House on Franklin Avenue. “I would be DJ'ing and Dirty would show up and start rhyming. Then he’d take the turntables and I’d get the mic. Since we were kids, we knew we were gonna always remain family”. One day when Dirty was in the studio, Buddha Monk was giving suggestions on the production. “And it was working out,” he says. RZA then said, “Yo, we gonna let you work on Dirty’s album.” It was through this brotherhood that Monk collaborated with Wu-Tang, singing background vocals on C.R.E.A.M., appearing in several videos including Da Mystery of Chessboxin’, and Brooklyn Zoo.
 In 1998, after the proverbial years of struggling in the streets and hopeful records deals gone sour, it was Lord Buddha Monk’s time to shine. The Prophecy was finally revealed to the masses and received both fans and critical acclaim. The album was dubbed hard-hitting without being too self-conscious.
 On the first single, “Gots Like Come On Thru” featuring Ol' Dirty Bastard, Buddha applies the lessons that Dirty taught him: “not to clutter my music, to take my time and breathe, to harmonize and slurf my words” combined with Buddha's own ideas: “to make it swerve and have that extra funk that everybody can enjoy.” On tracks like “Warrior Chiefs” and “Eastside Story”, Buddha collaborates with other Brooklyn talents, such as Da Manchuz, who he's developing as his protégés.
 Years later, we would hear a lot more of Buddha’s Brooklyn Zu family with the release of the Zu-Chronicles series on Chambermusik Special Products. But between those times, the tragic passing of Ol’ Dirty Bastard in 2004 almost put an end to Buddha Monk’s career. Devastated by the loss of one of his closest friend and music compadre, the Crown Heights native thought about quitting the rap game altogether. After taking a hiatus, General Monk Monk returned through the underground circuit with one goal in mind: ensure that ODB’s legacy lives on.
 Throughout is illustrious career, Buddha Monk has toured the world, worked with people from all over the planet, including more than 250 artists in the Brooklyn area alone and produced over 10,000 tracks. He is proud to include singing, rapping, producing, writing & recording to his repertoire. With the release of Unreleased Chambers (a compilation of the best songs from the Zu-Chronicles series) he’s closing down a chapter of his life and ready to begin a new era: The G Monk Monk Era.  

Cantora e compositora de MPB com influência do Blues/Rock 🎤🎶🎸

MPB singer and songwriter with Blues / Rock influence 🎤🎶🎸

Born in Alwar, Rajasthan in the year1927 into the illustrious Dagar family, Ustad Rahim Fahimuddin Khan Dagar is the son of Padma Bhushan Ustad Allabande Rahimuddin Khan Dagar who passed away in 1975. Initiated into the art of dhrupad at the age of five by his uncle Ustad Nasiruddin Khan Dagar, he received musical education for a period of 35 years from his father and family elders. In his words, “this included full mastery over the 52 alankaars (fundamental principles), Nada Yoga, Rudra Veena, Sanskrit education and of course Dhrupad-Dhamar.” He studied Rudra Veena from his uncle Ustad Ziauddin Khan Dagar for twelve years. He also took occasional lessons from his other uncles Ustad Hussainuddin Khan Dagar( better known as Tansen Pandey) and Ustad Imamuddin Khan Dagar. He learnt sanskrit from his father and Pt. Giridharilal Shastri.

Ustad Rahim Fahimuddin Khan Dagar is known not only for the power and spontaneity of his alaap, but also for his rich repertoire of compositions, some of which are believed to date back to the 12th and 13th centuries. As he likes to put it about dhrupad, "In the words of my ancestor Shat Shastri Baba Behram Khan Dagar, Dhrupad, as presented within our Dagar bani, is ‘ragatmak-swaratmak, shabdatmak-varnatmak, talatmak-layatmak and rasatmak. The singer has to portray its kalatmak, vidyatmak and adhyatmak aspects to do proper justice to it."

It is the quality of music which has taken him to many countries like the USA, France, Germany and Italy for performances before select audiences. 
His recordings have been released in Switzerland, Germany and Italy.
Ustad Rahim Fahimuddin Khan Dagar has been honoured with various awards among which the prominent are 
Sangeet Ratan (1956), Sangeet Natak Akademi Award (1993-94), Dhrupad Ratan(1993-94), Sahitya Kala Parishad (1996), Indra Gandhi Fellowship (1997), Mewar Foundation Award (2002), Kalidas Award (2002), Rajasthan Sangeet Natak Akademi Award (2003), Lifetime Achievement Award (2005) by North American Dhrupad Association, Lifetime Achievement Award (2007) by Govt. of Delhi, Padma Bhusan (2008), Sangeet Natak Akademi Fellowship- Sangeet Ratna (2010)

Check my mixcloud for all my mixes: www.mixcloud.com/deepc1
www.connectbookings.com for bookings.
Born in Minneapolis and raised in the birthplace of the underground music movement, Detroit, Chris Clark better known as “DEEP C” worldwide, started his love affair with music in 1979 at only 7 years old. Little did Chris know that his first record collection would take him to producing several hit releases with "Wamdue" and “Tigerhook Corporation", and around the globe holding residencies at the best clubs in the world.

His illustrious DJ career started in 1990 in Detroit, later moving to Atlanta where he would go on to meet co-founders of " Wamdue", Chris Brann and Chris Udoh in 1993. “Wamdue" and later, "Tigerhook" would go on a globetrotting, 8 year run, dropping hit after hit, that would lead DEEP C to his epic international and national residencies at FABRIC (London, England), Smart Bar (Chicago), KGB-Mission (Miami), Nomenclature (Atlanta), Viper Room (L.A.), and Tresor (Berlin, Germany). In Philadelphia, Chris had one of the longest running House weeklies (7 years) at the renowned Soma that hosted local and international guests and pushed the envelope of the domestic music scene.

Having remixed a variety of cutting edge artists and being remixed by well respected peers, Deep C finds himself starting Bodega Soundworks, a record label that will promote the sound that Bodega Bar, (where Deep C is entertainment director, in Midtown Village, an exotic, multi-genre infused night life spectacle that features everything from the sounds of Ibiza’s Buddha Bar to house classics, future classics, worldly influences and otherworldly soundscapes) will create for years to come.

So you remember that show Captain Planet?  When the homie Kwame was like, “Let our powers combine,” he stuck his fist in the air and once the team followed suit, their actions summoned the clique’s collective talents to bring forth a wrath that could stave off any impending peril and frighten all competition.

Well, Raised by Wolves (RxW) is kind of like that; except without the rings, multi-culturalism, environmental concern, and that androgynous cat whose highest desire was to spread love and glittery unicorns to everyone across the world.  We are a hip-hop super group that calls Cincinnati, Ohio our home and the musical landscape our battleground.  Our mission isn’t to change the world with our message, end world hunger, or help control the pet population.  We’ve simply merged our talents together to provide all those in listening range with the dopest shit possible.  As friends with a similar love for hip-hop and formidable artists in our own right, we felt like it was only natural to collaborate on a larger scale.  Within a group aesthetic, we could amplify the intensity of our individual efforts to procure a respectable fan base who longs for quality music and voraciously delivered content.  In other words:  NEXT LEVEL SHIT.

Sharp.One, a Cincinnati, Ohio native, lends his writing talents, slick rhyming patterns and aggressive emceeing to the bunch.  His unassuming demeanor and relatively introspective outlook effortlessly carves itself across the soundscape.  As the only spectacled member of the crew, his intellectual bend balances out the rebellious antics of RxW’s most colorful member, Travis Touchdown.  Also from Cincinnati, this guy has rocked many stages and has even graced Cincy’s most illustrious landmark when performing: Fountain Square.   His no nonsense delivery easily captivates listeners and commands the attention of everyone fortunate enough to experience him.  He’s also good for a witty double entendre and several creative punchllines.  You usually won’t catch their meanings upon first listen.

Simply put, if you don’t understand what Raised by Wolves (RxW) is here to accomplish, then you need some new headphones, a flyer girlfriend, and better musical taste.  We’re here to set the world on fire, shout out to Wheeler, with some progressive tunes and futuristic concepts.   We serve to ensure that any and every person who is a fan of hip-hop will get an experience they’ll never forget.  RxW is the squad!  (Insert expletive here)

 

New is better? Anyways, the invading Power Trio from Tyrol/Germany/Greece is rewriting the history of so called “alternative rock”. Formed in the fall of 2013 the trio is blending psychedelic elements with different styles of rock, always giving the instrumental performance of each musician equal priority. Fresh air coming from Innsbruck, steadily carrying the jam-orientated atmosphere of the illustrious 60s and 70s.

Nikolas Gillian is following