- Откуда советские граждане узнают правду о событиях в стране и мире?
- Из опровержений ТАСС!
советский анекдот

"Песков назвал «спекуляцией» статью Bloomberg об условиях переговоров"

#из опровержений ТАСС

rbc.ru/politics/22/07/2026/6a6…

@Christoph S this could be interesting to you

youtu.be/8wT-QYm0zlg?is=NDp7Fq…

@Christoph S this is for you

mastodon.social/@sundogplanets…

Prof. Sam Lawler (@sundogplanets@mastodon.social)

The panic is not that people have stopped loving music.

The panic is that people have started doing maths.

They are looking at rent, food, transport, debt, wages, childcare, medicine, exhaustion — and then looking at a concert ticket swollen with dynamic pricing, service fees, parking fees, VIP tiers, merch markups, drink prices, and miserable stadium seats — and saying:

**No. This is not worth my survival.**

And now the industry acts wounded.

“Why are young people killing concerts?”

They are not killing concerts.

They are refusing to bankrupt themselves for joy that has been fenced off, branded, tiered, algorithmically hyped, and sold back to them at landlord prices.

Music did not become unaffordable by accident. It was made that way by the same forces that make housing unaffordable, healthcare terrifying, food expensive, transport unreliable, and rest feel like a luxury. The worker produces the wealth, builds the venues, staffs the bars, drives the trucks, cleans the floors, streams the songs, buys the shirts — and then cannot afford the civilisation built out of their own labour.

That is the obscenity.

They rob people of leisure, then scold them for not participating in culture. They drain people’s lives of joy, then call them boring. They turn every human need into a payment plan, then act shocked when the public begins choosing groceries over spectacle.

People still want music.

They want dance, sweat, sound, communion, romance, rebellion, bass in the ribs, strangers singing the same chorus, the holy little madness of being alive in a room full of noise.

What they do not want is to be treated as wallets with legs.

And here is the great lie cracking open: **the industry is not music.**

The ticket platform is not music.
The promoter is not music.
The stadium is not music.
The brand campaign is not music.
The “cultural moment” manufactured by managers, bots, playlists, and corporate partnerships is not music.

Music is older than markets.

Music survives in small venues, basements, house shows, local festivals, workers’ choirs, queer dance nights, punk rooms, street corners, community halls, bedrooms, garages, churches, warehouses, and friends making strange beautiful noise because they have to.

The collapse of the overfed concert machine would not be the death of music.

It would be the choking of a parasite that mistook itself for the host.

So when they ask why the blue dots are multiplying, why the seats are empty, why the tours are cancelled, why the public is no longer rushing to save the luxury spectacle, the answer is brutally simple:

**You cannot underpay people, overcharge them for survival, and then demand they keep every entertainment empire alive.**

People want lives.

They want beauty.

They want leisure.

They want experiences.

They want music.

But they are tired. They are priced out. They are insulted. And increasingly, they are refusing to confuse participation with submission.

Pay for what genuinely delights you.
Support the artists and spaces that treat people like human beings.
Let the bloated machine tremble.

Music will survive.

The extraction model built around it may not.

## **Blue Dot Fever: The Worker’s Purse and the Death of the Stadium God**

The panic is not that people have stopped loving music.

The panic is that people have started doing maths.

They are looking at rent, food, transport, debt, wages, childcare, medicine, exhaustion — and then looking at a concert ticket swollen with dynamic pricing, service fees, parking fees, VIP tiers, merch markups, drink prices, and miserable stadium seats — and saying:

**No. This is not worth my survival.**

And now the industry acts wounded.

“Why are young people killing concerts?”

They are not killing concerts.

They are refusing to bankrupt themselves for joy that has been fenced off, branded, tiered, algorithmically hyped, and sold back to them at landlord prices.

Music did not become unaffordable by accident. It was made that way by the same forces that make housing unaffordable, healthcare terrifying, food expensive, transport unreliable, and rest feel like a luxury. The worker produces the wealth, builds the venues, staffs the bars, drives the trucks, cleans the floors, streams the songs, buys the shirts — and then cannot afford the civilisation built out of their own labour.

That is the obscenity.

They rob people of leisure, then scold them for not participating in culture. They drain people’s lives of joy, then call them boring. They turn every human need into a payment plan, then act shocked when the public begins choosing groceries over spectacle.

People still want music.

They want dance, sweat, sound, communion, romance, rebellion, bass in the ribs, strangers singing the same chorus, the holy little madness of being alive in a room full of noise.

What they do not want is to be treated as wallets with legs.

And here is the great lie cracking open: **the industry is not music.**

The ticket platform is not music.
The promoter is not music.
The stadium is not music.
The brand campaign is not music.
The “cultural moment” manufactured by managers, bots, playlists, and corporate partnerships is not music.

Music is older than markets.

Music survives in small venues, basements, house shows, local festivals, workers’ choirs, queer dance nights, punk rooms, street corners, community halls, bedrooms, garages, churches, warehouses, and friends making strange beautiful noise because they have to.

The collapse of the overfed concert machine would not be the death of music.

It would be the choking of a parasite that mistook itself for the host.

So when they ask why the blue dots are multiplying, why the seats are empty, why the tours are cancelled, why the public is no longer rushing to save the luxury spectacle, the answer is brutally simple:

**You cannot underpay people, overcharge them for survival, and then demand they keep every entertainment empire alive.**

People want lives.

They want beauty.

They want leisure.

They want experiences.

They want music.

But they are tired. They are priced out. They are insulted. And increasingly, they are refusing to confuse participation with submission.

Pay for what genuinely delights you.
Support the artists and spaces that treat people like human beings.
Let the bloated machine tremble.

Music will survive.

The extraction model built around it may not.

So these two US-ian guys comment on videos about Germany. I see no hype in posting this random thing teh youtube threw at me. You might even enjoy it.

Why Did Nobody Tell Us This About Germany?! 🇩🇪 (Americans React)

Dear users,

the long time users may still remember that we had a support forum over here on Nerdica.net until the big database accident.

I've set up a new one now at !nerdicanetsupport@nerdica.net

Please feel free to join.
For latest updates you may also follow @order

As of today, during the night, the backlog of >5 Mio. worker queue items has been resolved and new posts are delivered on time again.

Hopefully it stays that way.

Counter measures were:
- increasing count of CPU cores from 8 to 24 vCPUs
- increasing memory size from 20GB to 65GB
- redundant setup of Friendica behind a load balancer, so that two virtual servers can work on the backlog

Whileas CPU and RAM are back to their old settings, the redundant setup will stay and maybe extended to a third virtual machine.

#fediadmins #friendica

Sorry for the downtime in the last days, but there seem to be an issue with php8.4-fpm which caused the backend being unavailable.

I've now switched to php8.5-fpm and will monitor the site more closely in the next days...