Hoje começa série de InfoSessions dentro da programação da Red Bull Music Academy. São noites de papos e prática com personalidades da cena musical de cinco capitais brasileiras, que estarão reunidas pra falar de sua relação com a música e como as novas tecnologias interferem em seu trabalho. Depois do papo, as mesmas pessoas se reúnem para compor e produzir uma música na hora. É, na hora. Sem ensaio, sem nada pré-determinado. O barato é ampliar o conceito de jam session para algo prático e rápido – em vez de altas viagens instrumentais, uma canção certeira.
No Rio, os nomes são a dupla Berna e Kassin, a cantora Deize Tigrona, o músico Lucas Santtana, o produtor MPC (do grupo Digitaldubs) e o rapper BNegão. Depois do Rio vem Porto Alegre, Brasília, São Paulo e Recife.
E eu com isso? Bom, eu bolei esse conceito e tou acompanhando esse papo in loco, mediando os papos e assistindo a todas as produções. Voce também pode – é só se inscrever aqui nesse site.
Nos vemos, portanto.
…e me mandou esse link. Vê se não é de chorar mesmo.
Já ouviu?
Isso é que eu chamo de profissa: um user do blogger chamado fperacoli tá fazendo um senhor trabalho e reunindo parte da produção psicodélica brasileira num mesmo sítio, essa pérola chamada Brazilian Nuggets, com bios e arquvios zipados dos discos inteiros. Tem Manduka, Baobás, Geração Perdida, Brazões, a trilha do Deus e o Diabo na Terra do Sol, Daminhão Experiênça, Liverpool, Ronnie Von, Zé Ramalho… Coisa que nem o Gavin pode relançar em CD porque não tá em acervo de major nenhuma.
Repetindo o link, aqui: http://brnuggets.blogspot.com/
Deus lhe dê em dobro, alma caridosa.
PS – Tomate saiu do limbo da cantina escolar pra passar dois linques nesta mesma vaibe, se liguem no Vinil Velho e no Acesso Raro. Outros dois bons brasileiros, fazendo sua parte. Alguém sabe de mais algum?
Pletora de shows e DJ sets por aqui (Luke Vibert, Air, Pastels, Coldcut, Optimo, Shadow, Bomb the Bass, Spooky, Red Snapper) e Four Tet ao vivo no site oficial.
‘- Cecília reativou o blog;
– Pedro manda notícias sobre seu doc sobre o Rec Beat (com a minha participação especial entrevistando a Nação);
– Maceió começa a respirar o mesmo ar do resto do Brasil (depois eu conto direitinho, mas, por enquanto, dá uma sacada no podcast do Coelho);
– Bruno aos poucos vira vidraça;
– China transforma uma comunidade de Orkut em algo útil;
– O Bonde do Rolê aparece na Rolling Stone;
– Mateus é o garoto da capa do Link;
– Imunização Racional pra download no UOL;
– Arnaldo lança sua candidatura à presidência.
– O Eduf também aderiu ao podcast.
Alguém mais?
O ano tá só no começo.
Surfar no YouTube, um novo passatempo: saca só.
Mais um defunto no meu obituário pessoal: meu PC Tranqüilo, que me acompanha desde 1998, pediu arrego terça passada. Dedos cruzados pro HD não ter ido pro saco, mas se tiver, paciência. Zerar é sempre bom pra cabeça.
Enquanto seu substituto não sai da parteira, estou freqüentando lan houses, esse antro subcultural de jogos em rede e meninas adolescentes que acessam o MSN em dupla. Como eu me sinto numa bowa por aqui…
Sabe qual é o primeiro resultado que aparece quando você digita “failure” no Google?
Antes do CD entrar no mercado. Quem tiver tempo pra traduzir, pode me mandar que eu posto aqui:
A PROPOSAL FOR A SYSTEM TO REPLACE PHONOGRAPH RECORD MERCHANDISING
Ordinary phonograph record merchandising as it exists today is a stupid process which concerns itself essentially with moving pieces of plastic, wrapped in pieces of cardboard, from one location to another.
These objects, in quantity, are heavy and expensive to ship. The manufacturing process is complicated and crude. Quality control for the stamping of the discs is an exercise in futility. Dissatisfied customers routinely return records because they are warped and will not play.
New digital technology may eventually solve the warpage problem and provide the consumer with better quality sound in the form of compact discs [CDs]. They are smaller, contain more music and would, presumably, cost less to ship … but they are much more expensive to buy and manufacture. To reproduce them, the consumer needs to purchase a digital device to replace his old hi-fi equipment (in the seven-hundred-dollar price range).
The bulk of the promotional effort at every record company today is expended on ‘NEW MATERIAL’ . . .the latest and the greatest of whatever the cocaine-tweezed rug-munchers decide to inflict on everybody this week.
More often than not, these ‘aesthetic decisions’ result in mountains of useless vinyl/cardboard artifacts which cannot be sold at any price, and are therefore returned for disposal and recycling. These mistakes are expensive.
Put aside momentarily the current method of operation and think what is being wasted in terms of GREAT CATALOG ITEMS, squeezed out of the marketplace because of limited rack space in retail outlets, and the insatiable desire of quota-conscious company reps to fill every available slot with this week’s new releases.
Every major record company has vaults full of (and perpetual rights to) great recordings by major artists in many categories which might still provide enjoyment to music consumers if they were made available in a convenient form.
MUSIC CONSUMERS LIKE TO CONSUME MUSIC … NOT SPECIFICALLY THE VINYL ARTIFACT WRAPPED IN CARDBOARD.
It is our proposal to take advantage of the positive aspects of a negative trend afflicting the record industry today: home taping of material released on vinyl.
First of all, we must realize that the taping of albums is not necessarily motivated by consumer ‘stinginess.’ If a consumer makes a home tape from a disc, that copy will probably sound better than a commercially manufactured high-speed duplication cassette legitimately released by the company.
We propose to acquire the rights to digitally duplicate THE BEST of every record company’s difficult-to-move Quality Catalog Items [Q.C.I.], store them in a central processing location, and have them accessible by phone or cable TV, directly patchable into the user’s home taping appliances, with the option of direct digital-to-digital transfer to the F-I (SONY consumer-level digital tape encoder), Beta Hi-Fi, or ordinary analog cassette (requiring the installation of a rentable D-A converter in the phone itself . . . the main chip is about twelve dollars).
All accounting for royalty payments, billing to the consumer, etc., would be automatic, built into the software for the system.
The consumer has the option of subscribing to one or more ‘special interest category,’ charged at a monthly rate, WITHOUT REGARD FOR THE QUANTITY OF MUSIC THE CUSTOMER WISHES TO TAPE.
Providing material in such quantity at a reduced cost could actually diminish the desire to duplicate and store it, since it would be available any time day or night.
Monthly listings could be provided by catalog, reducing the on-line storage requirements of the computer. The entire service would be accessed by phone, even if the local reception is via TV cable.
One advantage of the TV cable is: on those channels where nothing ever seems to happen (there’s about seventy of them in L.A.), a visualization of the original cover art, including song lyrics, technical data, etc., could be displayed while the transmission is in progress, giving the project an electronic whiff of the original point-of-purchase merchandising built into the album when it was ‘an album,’ since there are many consumers who like to fondle & fetish the packaging while the music is being played.
In this situation, Fondlement & Fetishism Potential [F.F.P.] is supplied, without the cost of shipping tons of cardboard around.
Most of the hardware devices are, even as you read this, available as off-the-shelf items, just waiting to be plugged into each other in order to put an end to the record business as we now know it.