™ El Nuevo Dia - “Son cosas que no se esperan”
Quedan atónitos ex compañeros de los acusados por actos ilegales en la Policía.
No se porque se quedan atonitos. Con tantos actos de corrupcion y delitos que cometen algunos agentes de la fuerza. Ironico, no?
™ El Nuevo Dia - Microsoft reduce 40% el precio de Windows Vista
™ El Nuevo Dia - Microsoft reduce 40% el precio de Windows Vista
Microsoft pidiendo cacaoooooooooooooooooooooooooo.
Microsoft pidiendo cacaoooooooooooooooooooooooooo.
Music For The Masses? I Think Not! by Alan Wilder (Recoil ex Depeche Mode) - Side-line Magazine
Labels:
mp3,
music,
música,
rants
0
observations
Un reprint de un excelente articulo por uno de los musicos mas innovadores de la escena electronica de los ultimos 20 an~os. Enjoy!
Editor's note: It was late January 2008 when we contacted Alan Wilder (ex-Depeche Mode) for an article on the shifting musicmarket and the position of the artist in this. The request came at the right time since Wilder had just announced that a limited enhanced single for 'Prey'/'Allelujah' would be released on February 25th, surprisingly not by the record label but by Russian fans. An interview quickly became an open letter from Alan Wilder...
We live in a world of technology - exponentially increasing breakthroughs in all things scientific. So fast that we can't even keep up with it. So why is it that the audio quality of music is degenerating? Music 'sounds' worse. We have stopped listening, we don't have time. We only have time to be smacked in the face by the loudest, most attention-grabbing blast of souped-up noise imaginable until ear fatigue sets in and the desire to 'change the record' takes over. Why are the adverts on TV twice the volume of the regular broadcasts?
It's the only way to get our attention in the VOLUME WAR.
In recent years, a revolution in processing technology has instigated a change in the way albums are mastered. In order to compete, A&R men, producers, even the artists are demanding that mastering engineers, via digital compression, crank up the level so high that all dynamic range is callously sacrificed.
(Compression essentially increases the volume of the quieter elements within a mix while holding steady the peaks of the louder parts)
The effect of excessive compression is to obscure sonic detail and rob music of its emotional power leaving listeners strangely unmoved. In fact, the ear naturally compresses high volume blasts to protect itself - this is why we associate compression with level. Our sophisticated human brains have evolved to pay particular attention to any loud noise, so initially, compressed sounds seem more exciting. It is short lived. After a few minutes, research shows, constant volume grows tiresome and fatiguing.
True excitement comes from variation in rhythm, tone, pitch and a wide range of dynamics which in turn provides space and warmth - something you're unlikely to find in much of today's rock/pop music. If you want a good example, listen to The Arctic Monkeys 'I Bet You Look Good on the Dance Floor' for a bombardment of the most unsubtle, one-dimensional noise.
The download spiral...
At the moment, MP3 compression allows a smaller file to be created by excluding the musical information that the human ear is less likely to notice. Much of the information left out is at the very high and low end (MP3s don't reproduce reverb well for similar transience reasons). So when the already squashed CD master is then consumed via MP3, the flattening effect is enhanced further. The result - an unsatisfying, brittle, indistinct, hollow experience with no punch.
Just as the CD replaced vinyl, we all know that MP3 and other digital formats are quickly replacing CDs as the most popular way to listen to music. This means more convenience but inferior sound (although that may improve over time). Even the audiophiles have moved on to multi-media - the iPod or iPhone being the 'must have' item of choice. Many have lost interest in high-end stereo systems while younger listeners have grown so used to dynamically compressed music that the battle has already been lost.
But this is not the whole story. We are seeing the ramifications of this subtle but significant listening shift for the record industry. You see, it's not just about audio quality. It is about craft, toil. It's about art...
Art for art's sake
Recoil / Alan WilderI am slightly out of the ordinary in that I am not a hugely 'successful' artist in terms of commercial sales and in that sense, I struggle to be heard just like millions of other musicians. However, because of my background in Depeche Mode, I am secure, which has meant (and continues to mean) that I don't have to tailor what I do to conform in any way. The market shift hasn't really affected me that much. It certainly doesn't change how I approach making music. It does reinforce my cynicism towards the injustice of so much good music lost in the mêlée of dross. But that is nothing new. The nature of mainstream radio hasn't improved in any way; magazines have minimal impact, television exposure is more limited than ever - notwithstanding MTV channels which have become more and more marginalised. In fact the best way to get your music heard is through a TV advertisement.
Leaving viability aside for a moment, I would like to see a return to high quality art, embracing all the wonders of technology and science, delivered at a price that reflects the time and effort the artist has put in. Call me old fashioned. Just as one would expect to pay for a hand-crafted piece of furniture or a designer dress or a beautifully printed photograph. Rather than pandering to mass media, why not also produce higher resolution audio - maybe on DVD since that's a format most people can engage with without having to buy new equipment? Combine this with lovingly produced artwork which, if a printed option is too expensive, can at least be downloaded.
Collectors items are becoming a way to escape the turmoil. It makes a lot of sense to subsidise the production of an expensive format for those who really appreciate quality and collectibility by allowing a wider audience to cough up a minimal amount for the fundamental elements.
Some have tried. For instance, Magne Furuholmen (A-ha) released and sold 300 copies of a special 10" vinyl picture disc with hand-painted original sleeves, accompanied by a CD containing all the songs, a poster and a documentary charting the creation of the artwork. The package sold at 100 Euros a piece. Afterwards, all songs were made available on-line for free via MySpace. Hats off to a bold approach which effectively encouraged each serious fan to also become a kind of personal investor.
The successful implementation of a DVD/art/film package such as this by a major company largely remains to be seen. No reason for it not to work as long as the label takes a pragmatic view about downloads - that they can only really act as a promotional tool rather than generating a sustainable source of income.
But really, coming up with a format is the least of the challenges - the difficulty as always is how to sell it.
Certainly trying to get any sort of coverage in the record stores ceased to be a viable option some time ago. The chains themselves are on their last legs (note the recent demise of the excellent 'Fopp' stores) or they are mutating into something different - focusing on games, merchandise, iPod accessories and so on. To ensure their own survival, with their 'no returns' policy, the record stores exert heavy pressure on the record companies by only agreeing to stock 'dead certs' - just the best selling artists, in order to avoid being left with excess stock.
As for marketing and promotion, I want the first listening experience of one of my records to be exactly as I intend it to be heard. For that reason, no longer will I be offering up advance copies for charlatans posing as journalists to sell on E-bay or upload to The Pirate Bay 3 months ahead of release. Considering the amount of advance promotion I get these days, it won't make a blind bit of difference to the sales performance.
Not that there aren't any positive sides to fan-shared files. Clearly, people in remote parts of the world - Siberia for example - can potentially be exposed to my music this way, albeit not, as yet, at optimum quality. It's not ideal but better than no opportunity to hear it at all. Even with CDs, in Russia, they are impossible to buy outside of the major cities which is why we get sharp, entrepreneurial fan sites buying up all the city's stock and selling it on to others outside for a small profit margin.
From Russia with love
Recoil / Alan WilderRecoil recently released an enhanced CD including a film and a special booklet. Let's take a look at the process. The 'Prey'/'Allelujah' package was brought about through fan pressure; by those that want a physical product - completists maybe, but also music lovers who prefer the audio and tactile quality of a CD over downloadable 'faceless' products. The tracks had already been available as downloads but it wasn't satisfying for many. The generation gap is showing.
Following a successful promo appearance in Moscow, a local DM/Recoil webmaster managed to persuade Gala Records (EMI's local label - Mute's partner) that it would be worthwhile to release this disc. They agreed - not without conditions mind you. So what was agreed?
Firstly, the promo trip was instigated by an Electro club manager. The club paid for and largely organised the visit. On the back of that, Gala arranged some radio, press and TV. The results were more than encouraging but despite this, the conditions of a release meant that: the fans had to pay for the manufacture of the disc, the fans had to implement pay structures and distribute the disc via their own website, other Recoil fans produced the artwork for a 28 page booklet that accompanied the disc, another fan produced and directed the 9 minute film that was included for 'Allelujah', the artist (me) produced the music in his own studio, the artist funds its own website along with a dedicated webmaster that works for free, the artist and the fans took care of the on-line marketing, promotion and sales support. All these services were provided as labours of love - no cost except for time and effort through sheer will to make it happen. Astounding. And it warms the cockles of my heart.
So what did the record company do, you ask? A good question. The record company organised the parts into a manufacturable product - this means making a production master from existing music mixes and cobbling together a two-page inlay with label copy from existing artwork. The local licensee added cyrillic legal jargon to the inlay and alerted some press and TV. Not much really is it?
Ok, this is not the norm and as such, slightly unfair. It was a kind of one-off experiment. Gala/Mute might argue - a favour. But it is most definitely the way things are going. Why won't they release the CD in the usual way? Because they don't believe the demand justifies the effort and manufacturing costs when the trend is for cheap or free downloadable music.
The Russian project was an interesting experiment but it could only expect limited success given the current view of that country and the customer mistrust that seemed to permeate the whole enterprise. It wasn't an ideal way to try to sell a product but that doesn't preclude the process itself becoming perfectly workable - as long as solid logistics are in place, making it simple and reliable for the customer.
(Note: despite the obvious hurdles, in fact we still managed to sell all the planned stock prior to release, such was the demand)
Pop will eat itself?
Recoil / Alan WilderSo why bother with a record deal at all? And that is what many artists are now asking themselves. Why wouldn't they when they are being told that their company just can't afford to spend any money? Or that the company wants a cut of the artist's live income to pay for marketing. This is why we see the mass exodus taking place, squeezing the already crippled record industry. The artists that find it easiest to walk away are those that are already highly successful, compounding the problem still further. Why? Because the likes of Radiohead and Prince can afford to give their music away as a cheap promotional gimmick in order to create publicity for their respective machines. They get noticed for doing so and benefit in other areas. So with everyone now expecting free music, all the other artists lose what little income they could expect from record sales, even though the love and money spent producing their product hasn't changed.
I've long since given up expecting to make a profit from what I do. And you might expect that I would be full of resentment and bitterness toward my own record company but that's not really it. Mute are victims in all this. The reality is that all the companies are suffering and are desperately clinging on by their fingernails trying to come up with solutions as the rug is pulled from beneath them.
In Mute's case, EMI have inflicted so many spending restrictions and are 're-shaping' and 'streamlining' with department 'centralisation' and the reduction of the artist roster. EMI big cheese Guy Hands describes his business as 'an unsustainable model' with a need to 'reduce waste'.... Garbage collection. Thinly veiled rhetoric meaning CUTBACKS! He talks of 'eliminating duplication and bureaucracy'. Bottom line: 2000 jobs have to go.
More worryingly, he also offers us the information that currently about 3% of the entire roster is profitable and that those that never will be profitable, no matter how the model is changed, can kiss their arses goodbye.
That is about as far away as you could ever get from what I understood as the Mute philosophy, where the profit from major selling acts is used to nurture all the other artists on the label. Art. A record company does not sell baked beans, it exposes art to the masses. An unquantifiable thing. Baked Beans - a quantifiable thing.
But is that philosophy realistic in these times? Clearly not if you're ruled by a private equity conglomerate. The Mute home (now part of the EMI building) is a shadow of its former self. A few lost souls wandering around in a post-apocalyptic daze, like a scene from '28 Days Later'. There are some good people at the label who have their hands tied. And their feet bound. And some gaffer taped firmly across their mouths, helplessly kidnapped having been lured into the corporate machine.
Of course Mute can't just up and leave. It would be like trying to put your house up for sale when you're only renting it. I imagine Daniel Miller is as concerned as the next tenant. He is contracted to EMI as Mute's label boss and his own future I imagine is unclear. Maybe he is tired of the whole business, his original vision impaired beyond repair. I'm sure he is just as passionate about music as he ever was, but who would want to start a new record company in the current climate?
And can the musician act as entrepreneur? Is it fair to expect our scatterbrained creative songwriters and virtuosos to also hold a degree in business management? Formulating their own strategies and marketing models as they go? I mean wasn't this the whole reason record companies and managers came into existence in the first place? From my own experience, simply trying to 'stage manage' what has been a very small-level experiment has taken up most of the first 3 months of the year - valuable time which I intended to spend composing new music.
Business acumen will vary but it is essential for artists and their representatives to try and stay ahead of the game, to think up new endeavors. One could see the return of small art-focused indie labels employing a new modus operandi (it's already happening if you look around) with minimal overheads, operating more as logistical support to the artists, organising the manufacture and effective mail order distribution via the artists websites and other associated outlets. Taking the strain. (This doesn't mean one has to abandon the idea of mass availability via iTunes or similar)
By the time I finish another album, who knows if I'll have a record deal at all? It would be a shame to end my association with Mute after such so many good years but I've got a feeling the decision could be out of my hands. Much depends on the future of Mute/EMI and indeed all the companies. It could be that the major selling artists on Mute just get sucked into the EMI machine and all the others fall by the wayside, including the Mute label itself. It will be a sad day indeed.
So who shall we blame for the whole mess? Do we stick two fingers up at the record companies who have sat around twiddling their thumbs, peddling overpriced re-issues for years while their A&R men bombard us with shallow, faceless pop idol, X factor boy bands? Is it fair to say “... well, you had it coming”...? Or do we accuse the casual 'non-listener' with the attention span of a three year old living in a disposable, homogenized, Paris Hilton-obsessed society, over stimulated with too much life choice? A society that places value in triviality and accepts mediocrity without much question? Or perhaps the devaluation has evolved from the cult of the DJ, where anyone can regurgitate the very essence of rock 'n' roll by lifting an entire 70's funk classic, adding some rap drivel over the top and calling it their own work? Is modern music regarded as an art form at all anymore? Or is it just another business now?
Alan Wilder (Thanks to Bernard Van Isacker for his input)
More info on Recoil can be found at the links below:
www.recoil.co.uk
www.myspace.com/recoil
www.facebook.com/recoil
Editor's note: It was late January 2008 when we contacted Alan Wilder (ex-Depeche Mode) for an article on the shifting musicmarket and the position of the artist in this. The request came at the right time since Wilder had just announced that a limited enhanced single for 'Prey'/'Allelujah' would be released on February 25th, surprisingly not by the record label but by Russian fans. An interview quickly became an open letter from Alan Wilder...
We live in a world of technology - exponentially increasing breakthroughs in all things scientific. So fast that we can't even keep up with it. So why is it that the audio quality of music is degenerating? Music 'sounds' worse. We have stopped listening, we don't have time. We only have time to be smacked in the face by the loudest, most attention-grabbing blast of souped-up noise imaginable until ear fatigue sets in and the desire to 'change the record' takes over. Why are the adverts on TV twice the volume of the regular broadcasts?
It's the only way to get our attention in the VOLUME WAR.
In recent years, a revolution in processing technology has instigated a change in the way albums are mastered. In order to compete, A&R men, producers, even the artists are demanding that mastering engineers, via digital compression, crank up the level so high that all dynamic range is callously sacrificed.
(Compression essentially increases the volume of the quieter elements within a mix while holding steady the peaks of the louder parts)
The effect of excessive compression is to obscure sonic detail and rob music of its emotional power leaving listeners strangely unmoved. In fact, the ear naturally compresses high volume blasts to protect itself - this is why we associate compression with level. Our sophisticated human brains have evolved to pay particular attention to any loud noise, so initially, compressed sounds seem more exciting. It is short lived. After a few minutes, research shows, constant volume grows tiresome and fatiguing.
True excitement comes from variation in rhythm, tone, pitch and a wide range of dynamics which in turn provides space and warmth - something you're unlikely to find in much of today's rock/pop music. If you want a good example, listen to The Arctic Monkeys 'I Bet You Look Good on the Dance Floor' for a bombardment of the most unsubtle, one-dimensional noise.
The download spiral...
At the moment, MP3 compression allows a smaller file to be created by excluding the musical information that the human ear is less likely to notice. Much of the information left out is at the very high and low end (MP3s don't reproduce reverb well for similar transience reasons). So when the already squashed CD master is then consumed via MP3, the flattening effect is enhanced further. The result - an unsatisfying, brittle, indistinct, hollow experience with no punch.
Just as the CD replaced vinyl, we all know that MP3 and other digital formats are quickly replacing CDs as the most popular way to listen to music. This means more convenience but inferior sound (although that may improve over time). Even the audiophiles have moved on to multi-media - the iPod or iPhone being the 'must have' item of choice. Many have lost interest in high-end stereo systems while younger listeners have grown so used to dynamically compressed music that the battle has already been lost.
But this is not the whole story. We are seeing the ramifications of this subtle but significant listening shift for the record industry. You see, it's not just about audio quality. It is about craft, toil. It's about art...
Art for art's sake
Recoil / Alan WilderI am slightly out of the ordinary in that I am not a hugely 'successful' artist in terms of commercial sales and in that sense, I struggle to be heard just like millions of other musicians. However, because of my background in Depeche Mode, I am secure, which has meant (and continues to mean) that I don't have to tailor what I do to conform in any way. The market shift hasn't really affected me that much. It certainly doesn't change how I approach making music. It does reinforce my cynicism towards the injustice of so much good music lost in the mêlée of dross. But that is nothing new. The nature of mainstream radio hasn't improved in any way; magazines have minimal impact, television exposure is more limited than ever - notwithstanding MTV channels which have become more and more marginalised. In fact the best way to get your music heard is through a TV advertisement.
Leaving viability aside for a moment, I would like to see a return to high quality art, embracing all the wonders of technology and science, delivered at a price that reflects the time and effort the artist has put in. Call me old fashioned. Just as one would expect to pay for a hand-crafted piece of furniture or a designer dress or a beautifully printed photograph. Rather than pandering to mass media, why not also produce higher resolution audio - maybe on DVD since that's a format most people can engage with without having to buy new equipment? Combine this with lovingly produced artwork which, if a printed option is too expensive, can at least be downloaded.
Collectors items are becoming a way to escape the turmoil. It makes a lot of sense to subsidise the production of an expensive format for those who really appreciate quality and collectibility by allowing a wider audience to cough up a minimal amount for the fundamental elements.
Some have tried. For instance, Magne Furuholmen (A-ha) released and sold 300 copies of a special 10" vinyl picture disc with hand-painted original sleeves, accompanied by a CD containing all the songs, a poster and a documentary charting the creation of the artwork. The package sold at 100 Euros a piece. Afterwards, all songs were made available on-line for free via MySpace. Hats off to a bold approach which effectively encouraged each serious fan to also become a kind of personal investor.
The successful implementation of a DVD/art/film package such as this by a major company largely remains to be seen. No reason for it not to work as long as the label takes a pragmatic view about downloads - that they can only really act as a promotional tool rather than generating a sustainable source of income.
But really, coming up with a format is the least of the challenges - the difficulty as always is how to sell it.
Certainly trying to get any sort of coverage in the record stores ceased to be a viable option some time ago. The chains themselves are on their last legs (note the recent demise of the excellent 'Fopp' stores) or they are mutating into something different - focusing on games, merchandise, iPod accessories and so on. To ensure their own survival, with their 'no returns' policy, the record stores exert heavy pressure on the record companies by only agreeing to stock 'dead certs' - just the best selling artists, in order to avoid being left with excess stock.
As for marketing and promotion, I want the first listening experience of one of my records to be exactly as I intend it to be heard. For that reason, no longer will I be offering up advance copies for charlatans posing as journalists to sell on E-bay or upload to The Pirate Bay 3 months ahead of release. Considering the amount of advance promotion I get these days, it won't make a blind bit of difference to the sales performance.
Not that there aren't any positive sides to fan-shared files. Clearly, people in remote parts of the world - Siberia for example - can potentially be exposed to my music this way, albeit not, as yet, at optimum quality. It's not ideal but better than no opportunity to hear it at all. Even with CDs, in Russia, they are impossible to buy outside of the major cities which is why we get sharp, entrepreneurial fan sites buying up all the city's stock and selling it on to others outside for a small profit margin.
From Russia with love
Recoil / Alan WilderRecoil recently released an enhanced CD including a film and a special booklet. Let's take a look at the process. The 'Prey'/'Allelujah' package was brought about through fan pressure; by those that want a physical product - completists maybe, but also music lovers who prefer the audio and tactile quality of a CD over downloadable 'faceless' products. The tracks had already been available as downloads but it wasn't satisfying for many. The generation gap is showing.
Following a successful promo appearance in Moscow, a local DM/Recoil webmaster managed to persuade Gala Records (EMI's local label - Mute's partner) that it would be worthwhile to release this disc. They agreed - not without conditions mind you. So what was agreed?
Firstly, the promo trip was instigated by an Electro club manager. The club paid for and largely organised the visit. On the back of that, Gala arranged some radio, press and TV. The results were more than encouraging but despite this, the conditions of a release meant that: the fans had to pay for the manufacture of the disc, the fans had to implement pay structures and distribute the disc via their own website, other Recoil fans produced the artwork for a 28 page booklet that accompanied the disc, another fan produced and directed the 9 minute film that was included for 'Allelujah', the artist (me) produced the music in his own studio, the artist funds its own website along with a dedicated webmaster that works for free, the artist and the fans took care of the on-line marketing, promotion and sales support. All these services were provided as labours of love - no cost except for time and effort through sheer will to make it happen. Astounding. And it warms the cockles of my heart.
So what did the record company do, you ask? A good question. The record company organised the parts into a manufacturable product - this means making a production master from existing music mixes and cobbling together a two-page inlay with label copy from existing artwork. The local licensee added cyrillic legal jargon to the inlay and alerted some press and TV. Not much really is it?
Ok, this is not the norm and as such, slightly unfair. It was a kind of one-off experiment. Gala/Mute might argue - a favour. But it is most definitely the way things are going. Why won't they release the CD in the usual way? Because they don't believe the demand justifies the effort and manufacturing costs when the trend is for cheap or free downloadable music.
The Russian project was an interesting experiment but it could only expect limited success given the current view of that country and the customer mistrust that seemed to permeate the whole enterprise. It wasn't an ideal way to try to sell a product but that doesn't preclude the process itself becoming perfectly workable - as long as solid logistics are in place, making it simple and reliable for the customer.
(Note: despite the obvious hurdles, in fact we still managed to sell all the planned stock prior to release, such was the demand)
Pop will eat itself?
Recoil / Alan WilderSo why bother with a record deal at all? And that is what many artists are now asking themselves. Why wouldn't they when they are being told that their company just can't afford to spend any money? Or that the company wants a cut of the artist's live income to pay for marketing. This is why we see the mass exodus taking place, squeezing the already crippled record industry. The artists that find it easiest to walk away are those that are already highly successful, compounding the problem still further. Why? Because the likes of Radiohead and Prince can afford to give their music away as a cheap promotional gimmick in order to create publicity for their respective machines. They get noticed for doing so and benefit in other areas. So with everyone now expecting free music, all the other artists lose what little income they could expect from record sales, even though the love and money spent producing their product hasn't changed.
I've long since given up expecting to make a profit from what I do. And you might expect that I would be full of resentment and bitterness toward my own record company but that's not really it. Mute are victims in all this. The reality is that all the companies are suffering and are desperately clinging on by their fingernails trying to come up with solutions as the rug is pulled from beneath them.
In Mute's case, EMI have inflicted so many spending restrictions and are 're-shaping' and 'streamlining' with department 'centralisation' and the reduction of the artist roster. EMI big cheese Guy Hands describes his business as 'an unsustainable model' with a need to 'reduce waste'.... Garbage collection. Thinly veiled rhetoric meaning CUTBACKS! He talks of 'eliminating duplication and bureaucracy'. Bottom line: 2000 jobs have to go.
More worryingly, he also offers us the information that currently about 3% of the entire roster is profitable and that those that never will be profitable, no matter how the model is changed, can kiss their arses goodbye.
That is about as far away as you could ever get from what I understood as the Mute philosophy, where the profit from major selling acts is used to nurture all the other artists on the label. Art. A record company does not sell baked beans, it exposes art to the masses. An unquantifiable thing. Baked Beans - a quantifiable thing.
But is that philosophy realistic in these times? Clearly not if you're ruled by a private equity conglomerate. The Mute home (now part of the EMI building) is a shadow of its former self. A few lost souls wandering around in a post-apocalyptic daze, like a scene from '28 Days Later'. There are some good people at the label who have their hands tied. And their feet bound. And some gaffer taped firmly across their mouths, helplessly kidnapped having been lured into the corporate machine.
Of course Mute can't just up and leave. It would be like trying to put your house up for sale when you're only renting it. I imagine Daniel Miller is as concerned as the next tenant. He is contracted to EMI as Mute's label boss and his own future I imagine is unclear. Maybe he is tired of the whole business, his original vision impaired beyond repair. I'm sure he is just as passionate about music as he ever was, but who would want to start a new record company in the current climate?
And can the musician act as entrepreneur? Is it fair to expect our scatterbrained creative songwriters and virtuosos to also hold a degree in business management? Formulating their own strategies and marketing models as they go? I mean wasn't this the whole reason record companies and managers came into existence in the first place? From my own experience, simply trying to 'stage manage' what has been a very small-level experiment has taken up most of the first 3 months of the year - valuable time which I intended to spend composing new music.
Business acumen will vary but it is essential for artists and their representatives to try and stay ahead of the game, to think up new endeavors. One could see the return of small art-focused indie labels employing a new modus operandi (it's already happening if you look around) with minimal overheads, operating more as logistical support to the artists, organising the manufacture and effective mail order distribution via the artists websites and other associated outlets. Taking the strain. (This doesn't mean one has to abandon the idea of mass availability via iTunes or similar)
By the time I finish another album, who knows if I'll have a record deal at all? It would be a shame to end my association with Mute after such so many good years but I've got a feeling the decision could be out of my hands. Much depends on the future of Mute/EMI and indeed all the companies. It could be that the major selling artists on Mute just get sucked into the EMI machine and all the others fall by the wayside, including the Mute label itself. It will be a sad day indeed.
So who shall we blame for the whole mess? Do we stick two fingers up at the record companies who have sat around twiddling their thumbs, peddling overpriced re-issues for years while their A&R men bombard us with shallow, faceless pop idol, X factor boy bands? Is it fair to say “... well, you had it coming”...? Or do we accuse the casual 'non-listener' with the attention span of a three year old living in a disposable, homogenized, Paris Hilton-obsessed society, over stimulated with too much life choice? A society that places value in triviality and accepts mediocrity without much question? Or perhaps the devaluation has evolved from the cult of the DJ, where anyone can regurgitate the very essence of rock 'n' roll by lifting an entire 70's funk classic, adding some rap drivel over the top and calling it their own work? Is modern music regarded as an art form at all anymore? Or is it just another business now?
Alan Wilder (Thanks to Bernard Van Isacker for his input)
More info on Recoil can be found at the links below:
www.recoil.co.uk
www.myspace.com/recoil
www.facebook.com/recoil
ORIGINAL LINE-UP OF KILLING JOKE PLAY 3 CLASSIC ALBUMS BACK TO BACK ON WORLD TOUR AND RELEASE NEW ALBUM
Labels:
music,
música
0
observations
ORIGINAL LINE-UP OF KILLING JOKE PLAY 3 CLASSIC ALBUMS BACK TO BACK ON WORLD TOUR AND RELEASE NEW ALBUM
Finally, after numerous line-up changes through the years, all original Killing Joke members reunite for new album and world tour.
Drummer, Paul Ferguson, rejoins the line up for the first time since 1987 enabling a whole new generation of fans to see Killing Joke’s legendary original formation. Diehard fans have been waiting for this moment for two decades!
Bassist, Martin ‘Youth’ Glover also steps back into the live arena after a near 15yr hiatus, having not played live with Killing Joke since 1994’s Pandemonium tour.
The tour will see Killing Joke take up a two night residency in most venues offering a different set on each evening. On the first night, they will play their first two albums in their entirety, 1980’s self-titled album followed by the album ‘What’s This…For!’. Their second performance in each city will treat fans to 1994’s Pandemonium and the Island Records singles of ’79 to ’80.
Once described by Ferguson as ‘the sound of the earth vomiting’, Killing Joke is anthemic and grandiose in it’s evocation of nightmare visions. Taking a sarcastic jab at authority and perceived reality to a sonically charged mixture of post punk and metal, Killing Joke’s heavy guitars and pounding tribal drums conjure a primitive atmosphere of doom, gloom and resistance.
Notorious for their use of inflammatory imagery, a backlash against a world they perceived as ever more materialistic, unjust and conservative, Killing Joke, railed against the establishment and created a unique sound from their very conception.
Ironically, in the current musical climate with it’s obsession with rehashing eighties sounds, the 80s saw Killing Joke really pushing music forward, incorporating danceable elements with aggressive, grinding guitars and thumping drums. With elements of
proto-techno rock, their post apocalyptic vision has inspired bands as diverse and influential as Nirvana, Ministry, Nine Inch Nails, Foo Fighters, Soundgarden and Godflesh. Killing Joke have always been and continue to be more than just a band.
Godfathers of post-punk, Killing Joke return with their eagerly anticipated new album to coincide with their world tour. Album release date TBC.
LIVE DATES
September
13 - (JP) Tokyo
14 - (JP) Tokyo
16 - (ES) Madrid
17 - (ES) Barcelona
19 - (IT) Milan
20 - (IT) Milan
22 - (CH) Geneva TBC
24 - (DE) Berlin
25 - (DE) Berlin
26 - (FR) Paris
27 - (FR) Paris
29 - (BE) Brussels
30 - (BE) Brussels
October
02 - (UK) London
03 - (UK) London
TBC - (US) New York
TBC - (US) New York
"At last a ray of sunlight to illuminate these dark days. It is indeed my deepest pleasure to announce the dates of the 29th anniversary of the gathering. As usual we are never content sitting on the laurels of past Glories, a new Killing Joke recording is scheduled this summer!. Both Geordie and myself are thrilled as we hope you are with the line up, such anticipation comes as no surprise considering we have not played together since the Brighton Top Rank in 1982. We always knew this day would come after all it was inevitable. We hope all gatherers will join us in warmly welcoming back to active service our brothers Big Paul and Youth. The mysterious chemistry of the original line up is back, let there be gladness in your hearts." - Jaz
Finally, after numerous line-up changes through the years, all original Killing Joke members reunite for new album and world tour.
Drummer, Paul Ferguson, rejoins the line up for the first time since 1987 enabling a whole new generation of fans to see Killing Joke’s legendary original formation. Diehard fans have been waiting for this moment for two decades!
Bassist, Martin ‘Youth’ Glover also steps back into the live arena after a near 15yr hiatus, having not played live with Killing Joke since 1994’s Pandemonium tour.
The tour will see Killing Joke take up a two night residency in most venues offering a different set on each evening. On the first night, they will play their first two albums in their entirety, 1980’s self-titled album followed by the album ‘What’s This…For!’. Their second performance in each city will treat fans to 1994’s Pandemonium and the Island Records singles of ’79 to ’80.
Once described by Ferguson as ‘the sound of the earth vomiting’, Killing Joke is anthemic and grandiose in it’s evocation of nightmare visions. Taking a sarcastic jab at authority and perceived reality to a sonically charged mixture of post punk and metal, Killing Joke’s heavy guitars and pounding tribal drums conjure a primitive atmosphere of doom, gloom and resistance.
Notorious for their use of inflammatory imagery, a backlash against a world they perceived as ever more materialistic, unjust and conservative, Killing Joke, railed against the establishment and created a unique sound from their very conception.
Ironically, in the current musical climate with it’s obsession with rehashing eighties sounds, the 80s saw Killing Joke really pushing music forward, incorporating danceable elements with aggressive, grinding guitars and thumping drums. With elements of
proto-techno rock, their post apocalyptic vision has inspired bands as diverse and influential as Nirvana, Ministry, Nine Inch Nails, Foo Fighters, Soundgarden and Godflesh. Killing Joke have always been and continue to be more than just a band.
Godfathers of post-punk, Killing Joke return with their eagerly anticipated new album to coincide with their world tour. Album release date TBC.
LIVE DATES
September
13 - (JP) Tokyo
14 - (JP) Tokyo
16 - (ES) Madrid
17 - (ES) Barcelona
19 - (IT) Milan
20 - (IT) Milan
22 - (CH) Geneva TBC
24 - (DE) Berlin
25 - (DE) Berlin
26 - (FR) Paris
27 - (FR) Paris
29 - (BE) Brussels
30 - (BE) Brussels
October
02 - (UK) London
03 - (UK) London
TBC - (US) New York
TBC - (US) New York
"At last a ray of sunlight to illuminate these dark days. It is indeed my deepest pleasure to announce the dates of the 29th anniversary of the gathering. As usual we are never content sitting on the laurels of past Glories, a new Killing Joke recording is scheduled this summer!. Both Geordie and myself are thrilled as we hope you are with the line up, such anticipation comes as no surprise considering we have not played together since the Brighton Top Rank in 1982. We always knew this day would come after all it was inevitable. We hope all gatherers will join us in warmly welcoming back to active service our brothers Big Paul and Youth. The mysterious chemistry of the original line up is back, let there be gladness in your hearts." - Jaz
Otra razon porque adoro a Sprnt
Labels:
ISPs,
tecnología
0
observations
Con Sprint puedo ver las peliculas de Netflix Instant Watch porque ellos se conectan de servidores de Estados Unidos y ahi Netflix me permite ver las peliculas que tienen disponibles para Instant Watch.
Netscape finally put to the sword - Internet - iTnews Australia
Netscape finally put to the sword - Internet - iTnews Australia
Netscape, once the most popular Web Browsers is put to sleep. Fear not, you've got Firefox, Opera, Flock and others.
Netscape, once the most popular Web Browsers is put to sleep. Fear not, you've got Firefox, Opera, Flock and others.
Radio Free Morituri is back. O algo.
Labels:
icecast,
radio,
shoutcast,
tecnología
0
observations
Como les dije, regresabamos con nuevos brios. Asi que los enlaces estan a su derecha. Gracias a Listen2MyRadio por suplir un servidor de shoutcast para poder transmitir. Asi que curenese escuchandonos por el Stream 1. El Stream 2 tambien esta disponible.
Deben funcionar en Amaraok, Itunes, Real Player, Winamp y Windows Media Player.
Insultos, criticas, comentarios, abajo por favor.
Deben funcionar en Amaraok, Itunes, Real Player, Winamp y Windows Media Player.
Insultos, criticas, comentarios, abajo por favor.
The Mystery of Black Devil - eMusic Spotlight
The Mystery of Black Devil - eMusic Spotlight
Gracias al pana de Eme, El Pillo, que nos puso esto antes de ver There Will Be Blood. Consegui tanto el disco original del 78 con lo que sacaron despues. Beautifully fucked italo disco decadas alante. Disco retro para las 3 AM.
Gracias al pana de Eme, El Pillo, que nos puso esto antes de ver There Will Be Blood. Consegui tanto el disco original del 78 con lo que sacaron despues. Beautifully fucked italo disco decadas alante. Disco retro para las 3 AM.
Como El Cabron Party, pero Mas Cabron Todavia....
Labels:
fiestas,
joda,
música,
parties
0
observations
The March Boys Birthday Bash!
Event InfoName: The March Boys
Tagline: Birthday Bash!
Host: Felo, Cheo y Edwin
Type: Party - Birthday Party
Time and PlaceStart Time: Saturday, March 8, 2008 at 9:30pm
End Time: Sunday, March 9, 2008 at 3:00am
Location: The Forum & The Club - City View Plaza (Edificio I) Suite 103
Street: Carr. 165 Km 1.2, Pueblo Viejo (Casi al frente del El Nuevo Dia)
City/Town: Guaynabo
Internet connection woes solved.
Labels:
films,
music,
rants,
soundtracks,
technology,
Windows
0
observations
Ok so here I am with no DSL, since I dropped off PRTC's service, and my only link to the internet is my trusty wireless provider USB modem. Decent speeds, portability and a two year contract. What's a man to do when he has a desktop and a laptop in his house? Well he has two choices:
1. Switch said modem between the machines when the need arises to get his Internet fix.
2. Configure Internet Connection Sharing between the machines so doesn't have to do Step 1.
Setting Internet Connection Sharing between machines is somewhat of as tricky proposition if your broadband modem is not USB because 99.9 of all machines have only 1 ethernet port available. And you'll need that ethernet port to connect between the two machines unless you go the ad-hoc wireless route in Vista. I don't know if you can pull that trick in XP. If you do, let me know in the comments.
A word of advice: make sure the PC that handles the Internet connection is properly protected, firewalled with antivirus, spyware and whatnot. I cannot stress the importance of this, since you won't have the benefit of having a router protect your machine from whatever evil lurks in thee Internets.
Anyhoo got my handy USB connected and running in the desktop so in my connection's properties I set up Internet Connection Sharing and have it go through my Local Area Connection. Now there are things that you need to get through that connection namely http, http secure traffica and pop3 if you are so inclined. The other types are optional, but I wouldn't recommend them unless you know what you're doing. Then I get my trusty ethernet cable connected to my laptop and here I am, posting this to you.
Doing this under Windows is fairly easy. Under Linux should be a piece of cake, but I haven't tried it yet. My distro has the instructions so I might want to check that out since Linux is way more secure. So far, so good and I get to see my Samba Shares between both machines.
In another completely different subject, if you have any good taste in films, go and watch There Will Be Blood. This film is so fucking intense, my heart was racing every time Daniel Day Lewis was on the screen, because his character is one unpredictable sociopathic motherfucker. The movie is an adaptation of a novel but the director has made a terrific job at it. Radiohead's Jonny Greenwood does a great job scoring this and contributes to the feeling I had while watching this movie. Between this and No Country For Old Men, my film need have been sated. If Day Lewis and Javier Bardem don't get their Oscars this year, I'll be very fucking pissed.
1. Switch said modem between the machines when the need arises to get his Internet fix.
2. Configure Internet Connection Sharing between the machines so doesn't have to do Step 1.
Setting Internet Connection Sharing between machines is somewhat of as tricky proposition if your broadband modem is not USB because 99.9 of all machines have only 1 ethernet port available. And you'll need that ethernet port to connect between the two machines unless you go the ad-hoc wireless route in Vista. I don't know if you can pull that trick in XP. If you do, let me know in the comments.
A word of advice: make sure the PC that handles the Internet connection is properly protected, firewalled with antivirus, spyware and whatnot. I cannot stress the importance of this, since you won't have the benefit of having a router protect your machine from whatever evil lurks in thee Internets.
Anyhoo got my handy USB connected and running in the desktop so in my connection's properties I set up Internet Connection Sharing and have it go through my Local Area Connection. Now there are things that you need to get through that connection namely http, http secure traffica and pop3 if you are so inclined. The other types are optional, but I wouldn't recommend them unless you know what you're doing. Then I get my trusty ethernet cable connected to my laptop and here I am, posting this to you.
Doing this under Windows is fairly easy. Under Linux should be a piece of cake, but I haven't tried it yet. My distro has the instructions so I might want to check that out since Linux is way more secure. So far, so good and I get to see my Samba Shares between both machines.
In another completely different subject, if you have any good taste in films, go and watch There Will Be Blood. This film is so fucking intense, my heart was racing every time Daniel Day Lewis was on the screen, because his character is one unpredictable sociopathic motherfucker. The movie is an adaptation of a novel but the director has made a terrific job at it. Radiohead's Jonny Greenwood does a great job scoring this and contributes to the feeling I had while watching this movie. Between this and No Country For Old Men, my film need have been sated. If Day Lewis and Javier Bardem don't get their Oscars this year, I'll be very fucking pissed.
Welcome - idiomag | your music magazine
Welcome - idiomag | your music magazine
Check this shit out, it was recommended by a fellow user in last.fm and it's really cool. So if you've got a profile in last.fm, pandora, myspace, mog or I like, enjoy!
Check this shit out, it was recommended by a fellow user in last.fm and it's really cool. So if you've got a profile in last.fm, pandora, myspace, mog or I like, enjoy!
Radio Free Morituri will get some rest now
Labels:
música,
ramts,
tecnología
0
observations
Bueno, por ahora la estacion de radio ser ira a dormir. Cancele mi servicio de DSL y ya tengo uno wireless. Me va a hacer falta mi proveedor de Internet pero es para bien. Hay que economizar en estos dias. RFM va a regresar con nuevos brios muy pronto, asi que pendientes. Mientras tanto, chequeense el playlist para ver que hemos tocado hasta ahora.
7 Products that Look Like Sex Toys But Aren't (Officially) - OMG Lists.com - When we list, the world listens- The Ultimate Pop Culture List Site!
Organic molecules found on alien world for first time - space - 11 February 2008 - New Scientist Space
Timed Monopoly: Why it's Too Soon for the Next Xbox ::: Kombo.com - Video Games, News, Reviews, Previews, Features, Media
Compiz-Fusion Community News for February 9, 2008: KDE 4 is in. � SmSpillaz - Random Compiz Fusion Stuff
Nintendo's Wii claims more victims; Japan arcades hurt | Industries | Consumer Goods & Retail | Reuters
Study Hacks � Blog Archive � The Art of Speaking: "There is a special circle in hell for those who use laser pointers," this and other advice from a master speaker.
Is Linus Torvalds even speaking for Linux anymore? | The Digital Home - Don Reisinger's take on the tech closest to home - CNET Blogs
Hotmail doesn't work with Firefox 2.0: Microsoft answers to GNU/Linux users "Switch to Outlook Express" | Free Software Magazine
The Choice-Minimal Lifestyle: 6 Formulas for More Output and Less Overwhelm | The Blog of Author Tim Ferriss
Antivirus Inventor: Security Departments Are Wasting Their Time - Desktop Security News Analysis - Dark Reading
The world's rubbish dump: a garbage tip that stretches from Hawaii to Japan - Environment - Independent.co.uk
WebUrbanist � 15 Ingenious Humanitarian Subvertisements: Creative Advertisements that Advocate Global Causes
The Ultimate Sex Guide for Newlyweds: The Reality of Married Lovemaking | 7 Stages of Marriage | Reader's Digest
How Harvard students perceive rednecks: The neural basis for prejudice Blogs Scientific American Community
TrueCrypt - Free Open-Source On-The-Fly Disk Encryption Software for Windows Vista/XP, Mac OS X and Linux
EFF Asks U.S. Senate To Protect Reexamination Proceedings (and the Patent Busting Project) | Electronic Frontier Foundation
Physical Sciences Win Out Over Biomedicine in 2009 Budget Proposal -- staff 2008 (204): 1 -- ScienceNOW
Make sure Word, OpenOffice.org Writer play well together | Workers' Edge - a productivity blog from Dennis O'Reilly - CNET Blogs
Aidsmap | Swiss experts say individuals with undetectable viral load and no STI cannot transmit HIV during sex
agreeAdate: free online meeting scheduler / meeting planner / date planner / appointment booking tool : home
What is the coolest thing you can do using Linux that you can't do with Windows or on a Mac? - by Matthew Helmke
Temporary page due to Digg effect
Hello, Digg.com users! I wasn't expecting your visit, but I'm glad someone found this interesting enough to share. I've made a static page for the time being, until traffic dies down a bit and my server can handle the traffic. Sorry for the inconvenience.
What is the coolest thing you can do using Linux that you can't do with Windows or on a Mac?
by matthew, Saturday 2 February 2008 at 17:58 :: Linux / Ubuntu
Someone asked me this recently. I don't have just one answer. I compiled a list of things I thought of and emailed it to my friend...then I thought I would post it here for future reference. Feel free to add to the list! There is also a forums thread on the same topic, that I remembered as I complied my thoughts, so I stole some of the ideas posted there.
1. Upgrade to the newest version legally and without paying money
2. Have the latest version of the operating system run faster than the previous version on the same hardware
3. Easily install and run different graphical interfaces if I don't like the default setup
4. Install twenty programs with one command
5. Have the system automatically update all my installed programs for me.
6. Install the same copy of my OS (Ubuntu) on multiple computers without worrying about license restrictions or activation keys
7. Give away copies of the operating system and other programs that run on it without breaking any laws, governmental or ethical or moral, because it was all intended to be used this way
8. Have full control over my computer hardware and know that there are no secret back doors in my software, put there by malicious software companies or governments
9. Run without using a virus scanner, adware/spyware protection, and not reboot my computer for months, even when I do keep up with all of the latest security updates
10. Run my computer without needing to defragment my hard drive, ever
11. Try out software, decide I don't like it, uninstall it, and know that it didn't leave little bits of stuff in a registry that can build up and slow down my machine
12. Make a major mistake that requires a complete reinstallation and be able to do it in less than an hour, because I put all of my data on a separate partition from the operating system and program files
13. Boot into a desktop with flash and effects as cool as Windows Vista on a three year old computer...in less than 40 seconds, including the time it takes me to type my username and password to login
14. Customize anything I want, legally, including my favorite programs. I can even track down the software developers to ask them questions, contribute ideas, and get involved in the actual design/software writing process if I want to
15. Have 4+ word processor windows open working on papers, listen to music, play with flashy desktop effects, have contact with a largely happy community and have firefox, instant messaging, and email clients all open at the same time, without ever having had to beg someone for a code to make my os work, and without the system running so slow it is useless
16. Use the command "dpkg --get-selections > pkg.list" to make a full, detailed list of all software I have installed, backup my /etc and /home directories on a separate partition, and you are able to recover your system any time, easily
17. Run multiple desktops simultaneously, or even allow multiple users to log in and use the computer simultaneously
18. Resize a hard disk partition without having to delete it and without losing the data on it
19. Use the same hardware for more than 5 years before it really needs to be replaced...I have some hardware that is nearly 10 years old, running Linux, and still useful
20. Browse the web while the OS is being installed!
21. Use almost any hardware and have a driver for it included with the operating system...eliminating the need to scour the internet to find the hardware manufacturer's website to locate one
22. Get the source code for almost anything, including the OS kernel and most of my applications
I could go on, but that's long enough. :)
Hello, Digg.com users! I wasn't expecting your visit, but I'm glad someone found this interesting enough to share. I've made a static page for the time being, until traffic dies down a bit and my server can handle the traffic. Sorry for the inconvenience.
What is the coolest thing you can do using Linux that you can't do with Windows or on a Mac?
by matthew, Saturday 2 February 2008 at 17:58 :: Linux / Ubuntu
Someone asked me this recently. I don't have just one answer. I compiled a list of things I thought of and emailed it to my friend...then I thought I would post it here for future reference. Feel free to add to the list! There is also a forums thread on the same topic, that I remembered as I complied my thoughts, so I stole some of the ideas posted there.
1. Upgrade to the newest version legally and without paying money
2. Have the latest version of the operating system run faster than the previous version on the same hardware
3. Easily install and run different graphical interfaces if I don't like the default setup
4. Install twenty programs with one command
5. Have the system automatically update all my installed programs for me.
6. Install the same copy of my OS (Ubuntu) on multiple computers without worrying about license restrictions or activation keys
7. Give away copies of the operating system and other programs that run on it without breaking any laws, governmental or ethical or moral, because it was all intended to be used this way
8. Have full control over my computer hardware and know that there are no secret back doors in my software, put there by malicious software companies or governments
9. Run without using a virus scanner, adware/spyware protection, and not reboot my computer for months, even when I do keep up with all of the latest security updates
10. Run my computer without needing to defragment my hard drive, ever
11. Try out software, decide I don't like it, uninstall it, and know that it didn't leave little bits of stuff in a registry that can build up and slow down my machine
12. Make a major mistake that requires a complete reinstallation and be able to do it in less than an hour, because I put all of my data on a separate partition from the operating system and program files
13. Boot into a desktop with flash and effects as cool as Windows Vista on a three year old computer...in less than 40 seconds, including the time it takes me to type my username and password to login
14. Customize anything I want, legally, including my favorite programs. I can even track down the software developers to ask them questions, contribute ideas, and get involved in the actual design/software writing process if I want to
15. Have 4+ word processor windows open working on papers, listen to music, play with flashy desktop effects, have contact with a largely happy community and have firefox, instant messaging, and email clients all open at the same time, without ever having had to beg someone for a code to make my os work, and without the system running so slow it is useless
16. Use the command "dpkg --get-selections > pkg.list" to make a full, detailed list of all software I have installed, backup my /etc and /home directories on a separate partition, and you are able to recover your system any time, easily
17. Run multiple desktops simultaneously, or even allow multiple users to log in and use the computer simultaneously
18. Resize a hard disk partition without having to delete it and without losing the data on it
19. Use the same hardware for more than 5 years before it really needs to be replaced...I have some hardware that is nearly 10 years old, running Linux, and still useful
20. Browse the web while the OS is being installed!
21. Use almost any hardware and have a driver for it included with the operating system...eliminating the need to scour the internet to find the hardware manufacturer's website to locate one
22. Get the source code for almost anything, including the OS kernel and most of my applications
I could go on, but that's long enough. :)
My 22 Best On-Camera Interviewing Tips�Ever - Director Tom - Bringing Brands to Life with Remarkable Corporate Videos
My 22 Best On-Camera Interviewing Tips�Ever - Director Tom - Bringing Brands to Life with Remarkable Corporate Videos
psubuntu.com | Ubuntu on a Playstation 3
psubuntu.com | Ubuntu on a Playstation 3 Get some Linux on your PS3, y'all.
YouTube - AA-12. World's deadliest shotgun!
YouTube - AA-12. World's deadliest shotgun!: "http://www.youtube.com/watch?v=p4ebtj1jR7c"
ShipGooder: Courier Rate Search, Shipping Rate Search for FedEx, UPS, DHL and the United States Postal Service
WebUrbanist � What if the Package Were Part of the Product? 5 Innovative Industrial Designs for Ecological Living
Death of the father: British scientists discover how to turn women's bone marrow into sperm | the Daily Mail
BBC NEWS | dot.life | A blog about technology from BBC News | Microsoft and Yahoo: Perfect partners?
BBC NEWS | dot.life | A blog about technology from BBC News | Microsoft and Yahoo: Perfect partners?
OLPC One Laptop Per Child Easy to Repair and Recycle – Greener Electronics and Computers - thedailygreen.com
Suscribirse a:
Entradas (Atom)
Entradas
