#MaradoWeekly #WeeklyRecord Week 32
A menos surpreendente escolha de todas: a #musiquinta é sobre #cafezinho e não posso deixar de recomendar uma chávena do cafezinho que a minha banda #kokori preparou nos cães danados! Uma canção de amor ao café:
https://anti-demos-cracia.bandcamp.com/track/kokori-coffee
2024: a new tour starts across the world, and you hear the comments, read the excitement, see the preparations. The first pictures of the venue, then the merch stand. Some try to live stream, others film. You first get pictures of the stage, then short clips, excerpts. You see who the live band is, how they’re positioned, their gear. You start to get an idea of the setlist. Half a song live streamed, later a full song uploaded. The setlist is published live as the concert happens, and when it ends, you know exactly what was played. A few hours later you have not one but several videos of the show online, many partials bit even a few “full concert” videos, filmed from different people and perspectives, different sound quality and crowd noise or movements.
In 2024, “following a band” specially a “big” one, is an… astonishingly different experience than it was 10 years, 20 years or 30 years ago.
A new tour started yesterday, and I’m not sure how I feel about all this immediacy. But I am guilty of consuming it, that is certain. After all some things haven’t change, and most tours won’t include Portugal in their maps.
Estás a planear ir ao #extramuralhas 2024? Querias uma playlist para saber o que vai tocar lá, mas não a “oficial” porque está no Spotify?
Aqui vai uma playlist de preparação para o festival, no YouTube:
https://music.youtube.com/playlist?list=PL6e2XQAkf_eoSdJypJ7NcHIEdrvPxQqqw
The way we approach the digital world mimicking the physical gives us plenty of absurd situations.
One of them is in the music world (where, for another ridiculous motive, something called “Global Release Day” exists, an agreement that states that new releases, albums or singles, come out on Fridays).
Where does the “digital world” absurdity comes along? Well, the problem with having a “release date” is that you no longer release things in one place, you release them online - and not really on your website either… even if you wanted to, you don’t want to get in trouble: if an Australian band releases at Friday 00:01 a single on their website, they’re breaking the “Global Release Day” agreement because they’re letting the rest of the world get the single while it’s still Thursday!
So, bands now release music on digital platforms where they can “time block”, a different kind of geoblocking: the song can be heard on YouTube, yes, as long as it is already friday… and so today all around the world there are people using VPNs or other kind of tricks in order to be able to already listen to the music that is freely accessible to Australians.
Not only absurd, this situation is actually detrimental to the “music market”, and obviously frustrating to music lovers…
Para a #musiquinta de #vocalfeminino podia ir buscar muitas vozes, mas para vos dar só uma tenho mesmo de ir aos clássicos…
#MaradoWeekly #WeeklyRecord Week 31
“o desafio da soberania tecnológica é central e o software livre permite enfrentá-lo ao mesmo tempo que atua pela paz e pela soberania no mundo digital como um todo”
@ansol@ansol https://floss.social/@ansol/112870811758902018
Depois de ontem ver o concerto de “bbb hairdryer” no #ZigurFest, hoje foi dia do 7° #BBB - o outro: “Beers and Burger’s Book club” em #Lamego. Desta vez nem nos lembrámos da foto com dois dos B’s, fica só a foto dos livros.
E o fim do #ZigurFest - este ano. Para 2025 não se fiquem pelas fotos, metam na agenda e venham dançar #Lamego!
#ZigurFest 2024, Ăşltimo dia. A tarde foi assim, e estou a postos para ir noite dentro!