On Wed, 2007-02-07 at 22:52 -0500, Katitza Rodríguez wrote:
>Dear all:
>
> Did you hear about Rontgenschall? It’s the first band that tours the
> Internet! Therefore they perform on blogs instead of stages! And today
> they are virtually rocking a Peruvian blog call at txitua.org! They have
> edited a nice video specially for their Peruvian and latino fans. They
> also sent a message to the artist community in Latin america encouraging
> them to use CC licenses. They did it in Spanish with subtitles in English.
>
> Rontgenschall is a German band has that you could know, not only through
> their cool music but also for their style, their stages, their creative
> videos and their different mechanism of social networking that they use
> to spread their work: Del.icio.us Bittorent, Jamendo.com, myspace,
> youtube, hi5 and they use German CC licence: Atributtion, non
> commercial, share alike.
>
> See the Peruvian performance In English at
> http://www.txitua.org/index.php/concert-blog-music/
>
> In Spanish at:
> http://pe.creativecommons.org/
>
> NEXT TOUR AT Portland Oregon (USA) for Drew at mohdi.com
>
Whoa, this is a pretty brilliant idea. I’m curious how this type of novel strategy and the Free Ozzfest plan this summer are going to play out. Obviously, the web-based performances are a lot more scalable, and possibly the beginning of a new trend. Also, the just-announced Free Ozzfest is an interesting test case as (that us on the web have helped pioneer) for application of free/open content and how to make money.
The curious thing though about both of these trends is that both are heavily read-favored rather than read-write (linking to a blog about this subject). Also, I would note that it is more useful to consider a degree of read-write-ness rather than read/write being in binary opposition. Obviously, one may consume a read-only performance and write back via blog comments and blog trackbacks (but I would argue that the response is not equal to the initial action/performance). Similarly, one consumes a live performance, as is the case of the Free Ozzfest, and can write back with much less impact than the initial read. For example, rock bands blaring on an atomized audience with limited capability where the initial blast is through a gigantic sound system versus an individual without an amp. If one wants feedback, they can scream or throw something, but can’t directly write back in an attempted equal action…
Anyway, sorry for my verbosity, it is curious how the metaphors and expressions being pioneered on the web are being remediated back into popular culture and now the music business. The important thing is that this is a great time of experimentation and am very curious to see how the Free Ozzfest will survive on ads and a supposed lottery system (which will undoubtedly bleed over into scalping on ebay, etc, depending on the demand for *free* tickets).
How will the ideas from Free Ozzfest and Rontgenschall remediate back into both spaces?
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