If you want that you can check out Kbin. It's like Lemmy but also has a microblogging section that relatively flawlessly integrates mastodon content.
sliels
joined 1 year ago
The broadcast was a bit shoddy with the midfield, luckily the front was exciting today but yeah, missed a lot.
I was so sad Veijer made that mistake, he had a great race.
I mean, there's no chance this will ever hit the frontpage, so I didn't think a spoiler was necessary. Who runs this community, maybe we can get some clear rules on whether or not we should have spoilers?
Wonder how this'll turn out for him, Yamaha needs to step up massively if Rins wants to have a shot at another race win, let alone contest for the season..
Here as an add-on to my last comment, to encourage discussion and not clutter the page too much!
I've watched these 2 so far, with some added information and fighting cowboy even making a mock-up of the HUD. Personally I'm excited, but curious to what they mean with the deliberate movement, I loved the flying and bunny hopping style of gen 3 and all-out style of gen 4.
https://www.youtube.com/watch?v=nUTPLucLU5I& https://www.youtube.com/watch?v=YXj9GBrOLuQ
This is only the embargoed content from last week's event no? More people have made videos about it including Vaati with some extra details that aren't in there!
That article, while not necessarily wrong, is blatant propaganda and overlooks the most important issues until the final paragraph, and even then it only touches on it once.
As someone with expansive knowledge and experience in the indie music industry, with a lot of experience dealing with streaming services and Spotify in particular the biggest problem is not the % of value created paid out, it's what the actual value is. They don't touch anywhere on how much you get paid per play, how the value is created, how the money flows once it's in Spotify's hands, etc.
As said in the article, artists and indie labels/distributors have basically no ways to reach Spotify to negotiate a price, but Spotify itself paid literal millions to license a few major labels in the beginning. The 'value' of a play is extremely skewed, where you'd need upwards of 10.000 plays to equal a single play on a nightly radio show for a big broadcaster like the BBC or at a festival with 500 people. On top of that, if you work hard, network properly and prepare your release you can get quite good exposure through radio, dj and other live plays, whereas with Spotify you have to be lucky that they put your pitch towards the right 'tastemakers', they are actively working against user (influencer)-playlists, have piss poor customer service, blatantly favour major label tracks in their algorithms and don't actual care about their listeners.
On top of that we've got the obvious subscription enshittification, classic outlandish manager/director salaries and bonuses, the need to have an ever-rising share price and more.