wiloma boosted

We love freedom 2, the freedom to redistribute copies so you can help others. Boost this post if you LOVE this freedom, and want others to know about it, too! u.fsf.org/3m4

wiloma boosted

If anyone has an Atari 1040STE (not STF / STFM) that has a good case with a working keyboard but broken motherboard I'd be happy to take it off your hands. I have an Atari 1040STE that has seen some shit (case is destroyed).

(USA keyboard preferred, but I'm open to options)

Ping me via my DMs or my contact page on decafbad.net and we can work something out.

Thanks!

#atarist

Quick test:

100 users write to Bandcamp and complain there is no easy way to find CC-licensed material.

A month later, 1 board member from Creative Commons writes them with the same complaint.

Which complaint are they more likely to take seriously?

Uhhh....huh huh, huh huh...huh huh...

An academic paper about how inaccessible classical music is to the poor, marked as open access with a CC license...

...but only on campus. If you're not a student on that campus, then it's not accessible at all.

Now THAT'S what CC licenses are for.

Professors collecting their goddamn paychecks from my tax dollars pulling this kind of isht with no hint of either awareness or irony should be pilloried.

@craigmaloney Meanwhile, I *love* chamber music anyway, so I'll concentrate on those first.

Because Craig demanded it (not really). I got classical music into this year's too. Even used their own slogan on the cover.

Anyway, here's another of those seven anthologies I did for . Because I'm not just talk.

Thanks for coming to my TED Talk.

By the way, TED Talks are Creative Commons-licensed, too. So if even they can get it right, I'd expect smarter people than them could.

All noble and shit, but there are hundreds of thousands of artists in the world who are consistenly ignored as doing anything meaningful for the commons, because they are individuals instead of institutions.

Institutions need to change. Only an idiot thinks otherwise. But people need to be taken care of, too. Then they become more capable of changing those institutions themselves.

If you're down in the underground of hip hop, or even in the mainstream of jazz, the commercial record industry ain't ever gonna do isht for you. In fact, they'd rather you go away. So why not rebuild the culture, if for no other reason than to tell these people to go screw themselves?

But of course, the folks at CC have never made this pitch. They're too busy talking to librarians and schools and worrying about how they can solve climate change.

With hip-hop, the situation is different: it dominates world music sales. On that level artists seem primarily interested in commerce.

But this isn't cut-and-scratch or sampler-based music. This is post "Grand Upright Music vs. Warner Brothers Records" music, where sampling is ridiculously expensive and so producers prefer computer beats and tracks "featuring" guest artists so they can kick start careers of others in their stable.

When I worked at Tower Records, the record industry was at its peak, yet jazz accounted for 1% of sales and it was rare for a recording to sell more than 2,000 copies.

Jazz does not have any real presence in the globalized shite world of corporate music. And it's not a music in which recordings themselves are over-valued by musician -- jazz musicians would rather be heard live.

So the monetary argument makes no sense to me.

One huge absence in the world of is the absence of hip hop and jazz, especially featuring African American musicians.

From the beginning, Black music in America has been based on quotation and transforming the "common." So why aren't more Black musicians in America hip to the Creative Commons?

It's not just because they're all "temporarily embarrassed capitalists" -- that cuts across racial lines in this country. It's something(s) else.

I pulled together SEVEN anthologies myself for this year. Contacted the labels, received permission, went through their entire back catalogues, selected representative tracks, arranged them with some sense of flow and purpose, and did the album cover art myself using my own CC photos.

In the space of only three months, this was challenging.

Anyway, here's one.

Well, that was fun. 50 hours of live broadcast for !

I should sleep well the next couple days. Meanwhile, folks, go get yer bois. at netlabelday.tumblr.com

I'm building a real site for it, but that'll do for now.

It's here in Pacific Time Zone.

I've already been broadcasting 23 hours. Another 27 to go.

Stream the lusciousness at radiobrennpunkt.org

Download libre/free music at netlabelday.tumblr.com (so @arjaybe can feel secure with that certificate).

wiloma boosted

Our Giving Guide is updated once a year, and we need your help to find freedom-respecting devices and retailers to add to it -- especially given the advertising budgets of companies like Amazon. u.fsf.org/1io Boycott #PrimeDay

This Netlabel Day thing has been a helluva lot of work. But it was either I let it die (no one else wanted to take over after Manuel retired), or I do my damned best for something that is essential in my mind to Open Culture and a better world.

Ich grolle nicht, und wenn das Herz auch bricht, ich grolle nicht, ich grolle nicht...

Footnote:

Officially the deadline was today. But I'll take things until 18:00 Pacific Time. After that I'll be sleeping because I have to be on the air doing the first four hours of the Netlabel Day Netcast!

Contact me how you need, if you need.

HTH the curious. And special thanks to @controlfreak for making me codify it all. Now I can face the press!

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