Three examples of how it was to be a Hardcore fan / artist in the 90s and using the Internet when the World Wide Web still seemed a new thing and Facebook and Youtube didn’t exist.
Biophilia
In the 90s, there were not so many ways for artists to connect on the internet. One of these ways were mailing lists; you were added to a list, and then you could send emails to this list, and all other members too, and everyone would get forwarded anyone else’s mails. A quite rudimentary way of communication. One of these lists was the Biophilia list, run by Multipara. Before discogs.com, there were also not so many ways to find a discography of your favorite label online. Multipara catered to that need too. He had a website which listed records on such labels as Fischkopf, Mono Tone, Mille Plateaux… I got into contact with him to ask some questions about Fischkopf and later also supplied information myself, as I was “at the source” in Hamburg where the label was run. Eventually he invited me to the Biophilia list too. This mailing list orignally was intended as a list for people who liked the music of Martin Damm, also known as Speedfreak or Biochip C. and other aliases – hence the name of the list, but it then became more a list for “underground” electronic sounds, including Experimental Hardcore, Early Breakcore and similar outings. Members included Thaddi from the Sonic Subjunkies, Joel from kool.pop / ex-DHR, Andy from Irritant and I think DJ Entox and John from the Somatic Responses, was on there too, as well as many other artists or enthuasists of strange electronic music. As so many artists were on the list, Multipara got the idea to do a compilation with the very artists of this list, and it happened. The styles of this release are very varied and definitely show the varying interests of the members of this mailing list; from Chiptune and Ambient to Detroit type Techno to Breakcore and Speedcore everything is here. My own contribution was the first thing that ever was released by me, Adrenaline Junkie, a 800 BPM Speedcore affair that was 1998 amongst the fastest tracks out there on vinyl. It was really a special time and community, and this double vinyl was a special result out of it and it makes a nice memory to the mailing list, this rather “primitive” form of internet communicaton.
Another trip down memory lane. In the 90s, there was no Whatsapp or Facebook Messenger. If you wanted to chat online, you would likely use Internet Relay Chat, or IRC. IRC was organized in chatroom channels that ran on servers, that then were connected in huge networks. One of these networks was EFnet, and it had a channel called #gabber, run by DJ Skinner of Black Monolith Recordings. We were a dozen and a half users on there, including Acid Enema, Eye-D from The Outside Agency, Maurice from Rotterdam Terminator Source and lots of others (Satronica, Knifehandchop, Interrupt Vector etc.). It was good times, lots of networking happened, and the beginning of Black Monolith Recordings was laid in that chatroom, and it was also how I got into contact with that label when I sent an early demo of “Urban Uprising” to Skinner – the rest is history. Memories!
BMR logo
C8.com and P2
Third trip down memory lane… we talked about chatrooms and mailing lists… but there was no social media to spread infos and sounds about Hardcore and related music in the 1990s. Instead there were websites and the biggest (for this type of music) was c8.com. It hosted PCP, an early incarnation of Bloody Fist, Somatic Responses and much, much more. The site hosted articles of various fanzines, preview music of plenty of releases, contact and background information and artists and more stuff. It was run by Stevvi who also started a mailing list for artists, fans and everyone else to communicate about what he called “dark, sick music”, and it was. While the list thrived for a few years, it ultimately decayed eventually, with lots of “shitposts” and other stuff, a taster of the Internet culture to come. So he set up a secret mailing list called P2, invite-only and only for the Hardcore elite… just kidding, mostly friends and people who had networked, and people around C8 who could hold a meaningful debate. It was host to many a great conversations, exchange of communication and connecting of artists, also some “scene fights” that almost 20 years later we can laugh about, and even some musical projects such as the c8 99 one (making tracks that last only 99 seconds, I think some of the Somatic Responses ones later got released). Artists on P2 were for example Boris Cavage, Noize Creator, and I think DJ Pure and Christoph Fringeli. One of the CD-Rs I sent to Stevvi he advertised on P2 (and put it in the music section of c8.com) and this led to the release of my Kougai split with Cdatakill and my Widerstand album, and other stuff.
Image of the old c8.com website
Nice memories again, of an era when communication was more limited but also more direct and the scene appeared smaller, before today’s version of the Internet.
Blaster is a name in our community that I’m surprised more people haven’t mentioned, but with his newest release, ‘Drop the Bomb’ out on New York’s Industrial Strength Records, I wouldn’t be surprised if we saw this man roaming the states very soon. Right away, the title track is going to catch you off-guard with its groovy, all-over-the-map sound design, odd-numbered (161?!) BPM, and with a trap-like breakdown, and a hard re-entry, this track is far more atypical in this genre. The b-side, ‘You Don’t Like Me’, is much more typical of this artist (and hardcore in general), however again Blaster keeps things interesting by incorporating other styles of electronic music and keeping his sound design original and edgy regardless of the dated, overused vocal sample.
When you hear the words “Raw Hardstyle”, E-Forceis a name that certainly comes to mind. This legendary Dutch Hardstyle producer has taken his career past many milestones, including a solo album, bookings on some of the biggest festivals in Europe, and en extensive personalized merchandise line. E-Force is one of the true pioneers of Raw Hardstyle, even landing the prestigious award of having the top Hardstyle track in the Q-dance Hardstyle Top 100 in 2014. We spoke with him about his plans for 2018 and beyond!
E-Force: That’s a good first question, haha! I think there has been a big growth in music quality the last years. I’m always trying to keep the “E-Force roots” in my music, but always trying to evolve that. I also moved my studio to the Scantraxx office, into Wildstylez’ old studio. It has amazing acoustics. Before that, I just had a studio in one of the rooms in my house – my productions definitely improved in the new one . My management and the people working at Scantraxx are of course also there, so the whole vibe in the studio and the office is good inspiration for me.
E-Force: I expected that it would be bigger now than it actually is. In 2012 everyone expected that I think. Unfortunately it didn’t work out the way everyone hoped for, but I hope I can contribute in it. I think it’s important that all artists apply for a VISA, although it’s really difficult to get one. I hope all artists who have the option to go there also go for it, so we can build the scene bigger together!
E-Force: Like I said, I’m always trying to evolve my sound with my roots sounds combines. Especially on my album I had the chance to do everything I like, a bit more euphoric, but also things like Schranz and Hardcore indeed. When you’re just doing single releases it’s a bit difficult to do this, but on an album you can go for “the edge”.
E-Force: My merchandise was a part of the album campaign, and it turned out amazing. It’s really nice to have a new branding style, and to translate that in an album artwork, but also in merchandise. As you all know we’ve launched the new icon logo about one year ago, and this icon was the main focus on the merchandise. All merchandise was sold out very fast, and on events I see people walking around with a lot and that’s really cool to see!
E-Force: This is just an edit I made for fun. I still love to play Seven every time, because the response on the track always stays very good. I made this edit to play at Rebirth festival for the first time, where I was doing a special live set. The response on the edit was crazy. I prefer to play this new 2017 edit now instead of the original mix.
E-Force: You heard that correctly ☺ Cloud 9 Music is my music publisher, and they have a very cool studio inside their office. You really don’t expect that when you see the office from outside haha. It’s a very small club for like 150 people, and Cloud 9 offered me the opportunity to use this club for a small, invite only, party. It was such a cool night, because all my dedicated fans were there and it’s nice to be in a small area, so you also have the chance to speak with the fans one on one.
E-Force: Expect a lot of new stuff coming your way! Working my ass off in the studio now, and really trying to my music to a new level again, and experimenting / searching for new cool elements. Thanks for your time, and see you in 2018 during my first USA gigs!
3MiloE: Okay so, where are you guys from and what’s the music scene like there?
Andrew: L.A. area born and raised. I’m from around this area, grew up in Laverne. I live near Long Beach now. What about you, Scott?
Scotty: I’m from Florida originally, and I’ve been living in Los Angeles for the past two and half, three years. The scene in both Florida and Los Angeles couldn’t be any different. But they’re definitely both a great ode to electronic dance music. Florida, for example, has Ultra Music Festival in Miami and then, you know, Los Angeles has…where we’re at right now… Escape. So yeah, the scene in Los Angeles is way more underground. It’s thriving right now.
Andrew: I think it’s the best for new artists because many can’t go play shows in other states cause they aren’t getting paid enough to travel. But over here…
Scotty: You can play shows here and build your entire fan base out of Los Angeles. I’ve seen it happen.
3MiloE: So how did you guys come up with your DJ names?
Both: (Laughs)
Andrew: Well, we used to tour and make music as Night Owls together, then we went through a re-brand process from April 1st?
Scotty: Yeah, and we’ve always had this concept of… duality within our brand.
Andrew: And in the fascination with owls and nocturnal life and the occult things. I’ve always been infatuated with those kind of interests. But yeah, a mix between duality and like… our love for owls.
3MiloE: So, obviously the animal that best personifies your music is the owl.
Scotty: Yes.
3MiloE: Why?
Scotty: Essentially, it really comes down to, Free Masonic imagery, as well as the Illuminati symbolism. In the middle of the Redwood Forest is Bohemian Grove, there’s a forty-foot stone owl that they call Malik. (Editor’s note: Moloch.) Malik, as we know, has been around for whatever, so um…
Andrew: From the mythology, Malik isn’t supposed to be an owl, it’s supposed to be a bull.
Scotty: They’re both, so, Malik is an owl but it also, the same… force…has been represented as a bull. So it’s like, the same thing. So I say it’s like a bull, the symbolism is really interesting. And someone snuck into the Bohemian Grove and took hidden camera footage of people sacrificing what seemed to be like a human, or maybe they, if maybe it was, just some sort of a whatever…
Andrew: A mock sacrifice.
Scotty: …to a forty foot stone owl. So this has actually been going on for thousands of years. (Editor’s note: Thousands, eh?)
Andrew: What does that have to do with our music, dude? (Laughs)
Scotty: And, this is where, I think that’s where a lot of power of the brand comes from. Because, that has existed throughout human history for thousands of years. So I think it could thrive in a brand and use it.
Andrew: I like owl’s personifications. They’re really swift creatures that are able to see through the bullshit.
Scotty: And they’re nocturnal.
Andrew: And nocturnal. I’m a nocturnal person. I kind of see our music as swift and sleek. But owls are also very dangerous things. Like, kind of like our drops.
Scotty: Yeah, my bedroom is also full of owls too. I have all these different owls.
3MiloE: That’s great. So what are you trying to convey with your music?
Scotty: Emotion. The goal, yeah? To be able to convey emotion through music. That was a good concise answer.
3MiloE: Alright, next question okay? Can you describe the feeling you get when you’re on stage?
Andrew: Not really, I mean, it’s almost like…
Scotty: …Transferring energy.
Andrew: It’s almost like, when I was playing baseball as a little kid, and I was like, batting. Like, I almost like, blacked out. I don’t know how to explain it, it’s like you black out and you go in…
Andrew: Yeah, blackout…
Andrew: If you’re prepared, you just go. That’s how, that’s how it is for me. I don’t know, I mean, we work well together. We can read each other, off of our energy. We can do things with each other and we’ll do things vise-versa, and I don’t know, it just flows. Like, I just almost blackout. It’s weird. I don’t remember what I do during my set, or after my set (Laughs). I don’t know. And also, every single one of our sets is prepped different. We couldn’t go and do the same set twice. A lot of artists do the same set forever, but we never do that.
Scotty: Yeah that’s very true. Yeah I definitely agree the whole blackout thing definitely does happen. As soon as we go on stage and we press play, everything else is just a blur until we’re off that stage. It’s really… it’s a really interesting feeling. I think as far as being on stage, I feel like there’s this transfer of energy between the person on stage performing and the crowd. So it’s like, the person hypes it up, and their crowd looks at that and is like, “Okay, this person is hyping up. I’m gonna hype! And that’s like this transfer of energies for the crowd’s hyping and, the performer is hyping, so it’s this cycle that goes on and the bigger the crowd the more you can feel it. You can actually feel this.” (Editor’s note: HEADY!)
Andrew: That’s true though, the better response I get from a crowd, usually, the more confident I am with my DJing, too.
Scotty: Yeah, it’s so surprising. The bigger the crowd, the more confident we are because we know that they’ll fucking like what we do. So the more people there, the more heads we can turn.
3MiloE: What moment do you cherish the most so far in your career?
Scotty: Moments like these, when we’re with our friends at these festivals, and able to, you know, run around the entire place like a playground… it’s like a theme park.
Andrew: I think the one I cherish the most was probably our Global Dance set. Because that was our first time playing to a real festival crowd, and I was really nervous before like, “Fuck. It’s my first time having fucking, 5,000 people watching me do what I do.” But I really cherished it. After I got off stage. I was like, “Damn. I really just did that.” That was probably the one I cherish the most. It was the first time, it’s like losing your virginity, you know what I mean?
Scotty: (laughs) Very true.
Andrew: Yeah, that was the one for me.
3MiloE: So what are your major influences?
Scotty: As far as music or as far as…?
3MiloE: Anything.
Andrew: Major influences…
Scotty: His is baseball. If the Dodgers lose, then he can’t make music. If they win, he’s grinding.
All: (Laughs.)
Andrew: Nah, but major influences. Let’s see. Music wise, a lot of the guys doing melodic shit right now, like Illenium, Seven Lions, Zed’s Dead, Nghtmre. People like that. As far as direct music, but I draw a lot of inspiration from like, I used to listen to a lot of heavy metal shit, like screamo post-hardcore shit. I grew up listening to that. I still draw inspiration from that going into, creating chord progressions or something like that, you know what I mean? But yeah, I also draw inspiration from just everyday life, you know what I mean? Like, some days I’ll be in a rut like, I’ll open Ableton and I’ll just stare at it. And I’ll go do something, I’ll go get lunch or something and just get inspired, come back, and get ready to work. I don’t know, but yeah that’s it for me.
Scotty: I think there is a really fine line between what your influences are, and what you’re actually a fan of. I think there’s a lot of artists and music that I’m a fan of, but don’t think actually influence me. And I think at the end of the day we most influence ourselves. We become some sort of anti-influence because we’re our biggest critics you know? We have the most to lose. So in a sense our criticism of ourselves is what really influences us.
3MiloE: That is profound. Yeah, that made my head spin. I like that.
Scotty: So I didn’t get you at the forty foot stone owl that they sacrifice people, to but I got you at influences. (Laughs.)
3MiloE: Yeah, well I mean. I take my influences, and they’re not necessarily the people I listen to.
Scotty: Well, I get influences from movies, I get influences from books, I get influences from stuff that has nothing to do with music. That still influences me. I see comedians, the way comedians come up is so similar to the way DJs come up. A comedian for example starts off at a small club, doesn’t have any pull, is probably performing for free. They have to develop an entire set, test it out with the crowd to see if the set works, like, “Oh, these jokes don’t work, let me scrap it.” DJs are kind of like the same thing. It’s like, “These songs don’t work, let me scrap it.” They develop a set, they start off at this shitty club. They’re not even getting paid, and they end up, you know, being able to pull their own crowd, being able to, go on their own tour with their own headlining tour. So I think kind of stand up comedy and DJing, are both thriving in Los Angeles. I think both of those scenes kind of are so similar. So that influences me too, I could see the way this dude came up, how can I superimpose that to our shit.
3MiloE: Awesome. Where do you see yourselves a year from now?
Andrew: Hopefully doing more of these at a later time (Laughs) But really…
Andrew: We opened the main stage today. We’re kind of getting on the stages where we see ourselves being. But we want to make it more frequent. Maybe outside of California like, other east coast festivals, blah blah blah. Try to get some of these later time slots, bigger crowds, you know what I mean? But we got to start somewhere, definitely blessed to be doing what we’re doing right now, even opening, that was so awesome.
Scotty: Exactly like, I love DJing. It’s so fun to DJ. In a year I would hope to be at a placee where we would be able to make something that we wouldn’t be able to make right now. I would like to be at a place where we’re able to make something we couldn’t make a year ago. Whether its goals or achievements or whether, it’s music. As long as we’re always improving. One year ago we were not able to fucking make this song, or one year ago we weren’t able to fucking pull out, or sell out this venue or something like that. So whatever it is, I hope we’re always progressing, whatever it is, it better be something we weren’t able to do right now, you know what I’m saying?
Mike: When you guys said you opened up the main stage, what was the moment you realized, “‘Wow this is actually happening?”
Scotty: Well, we kind of got booked for these shows months in advance, so we were kind of able to somehow envision and strategize everything out, you know? For example, we’re playing at Countdown, Insomniac’s New Year’s Eve event, and it’s October. So we have three months to prepare for that.
Andrew: Also to answer the question… I don’t even think I’m personally at that point yet, you know what I mean? I’m still struggling every day man. We can be on the stage right now and not there tomorrow. But take everything with a grain of salt. Appreciate everything.
Mike: Whose the brains behind this operation? Like, do you guys have equal parts?
Yeah, it’s equal, definitely like, we’re partners. Business partners, music partners…and I mean it, fucking basic brothers. But there’s no brains. I mean, sometimes he’ll take the head on something, sometimes I will. It’s just how we trust each other. That’s just how it works.
Musicoin – это цифровая валюта, созданная для получения вознаграждения за прослушивание музыки. Каждый раз, когда слушатель проигрывает песню в глобальной экосистеме Musicoin, создатель песни получает заработок практически в реальном времени. В то же время это ничего не стоит слушателю. Статья, которую вы читаете, призвана объяснить, как такое возможно и содержит размышления о возможном развитии системы для артистов, фанатов и предпринимателей со всего мира. Musicoin начался как способ высветить проблемы современной глобальной музыкальной индустрии. Всего три корпорации владеют 80% музыкального рынка: Sony Music Entertainment, Warner Music Group и Universal Music Group. Из-за своего влияния они имеют тенденцию диктовать, кто будет побеждать, а кто проиграет в мировой экосистеме. Новички и даже состоявшиеся музыканты могут пострадать от сложившейся ситуации. К примеру, множество артистов жалуются на низкие выплаты роялти, которые они получают от стриминговых веб-сервисов вроде Spotify и Pandora. Более того, авторские права и лицензии настолько сложны, что средний артист едва может отследить те суммы, которые он может получить.
PPP контракт (Pay Per Play) системы Musicoin позволяет осуществлять мгновенные платежи артисту, и эти платежи могут быть легко разделены между всеми участниками группы и другими важными для музыкальной экосистемы людьми.
Такое решение проблемы в системе Musicoin возможно благодаря использованию технологии блокчейн и смарт-контрактов. Компьютеры всего мира связываются друг с другом для создания цифровой валюты Musicoins (далее MC) и отслеживания каждой транзакции. Создание валюты и системы реестра последовательно и называется “блокчейн”, так как все компьютеры вместе генерируют “блоки” транзакций один за другим. Внутри этих транзакций записаны ордера на проведение одного или нескольких платежей. Эти платёжные ордера называются смарт-контракты или умные контракты, так как они логически исполняют выплату согласно программному коду, который в них заложен.
Если говорить простым языком, как только музыкант загружает песню в систему Musicoin, за каждое прослушивание он получает 1 MC. И если это группа музыкантов, с которыми надо поделиться наградой, система разделяет 1 MC соответственно контракту. Всё это происходит за считанные секунды с помощью блокчейна Musicoin.
Схематическое изображение PPP системы Musicoin.
Так сколько же стоит MC? Есть зависимость. Как и у других цифровых валют, MC торгуется на открытых рынках и его стоимость постоянно меняется. Временами 1 MC стоил больше 4-х центов (в долларах США). На этом уровне Musicoin выплачивал артисту за прослушивание гораздо больше, чем любой другой мейнстримовый веб-сайт. Но с любым успехом приходят и трудности. Стало ясно, что если цена MC будет продолжать расти, то никто попросту не будет слушать музыку. Люди будут копить MC в надежде на будущий рост. В действительности так и происходило при цене в 3 цента. После этого основатель Musicoin Исаак Мао (Isaac Mao) начал разрабатывать инновационную стратегию для будущего.
Исаак приобрёл известность в Китае как один из первых сетевых блоггеров и защитник свободы в Интернете. В начале 21-го века он придумал теорию и назвал её “Sharism” (суть заключается в девизе «чем больше вы делитесь, тем больше получаете»), подчеркнув важность и необходимость делиться информацией в информационную эпоху.
И хотя Sharism изначально был основной идеей первого воплощения Musicoin в феврале 2017-го, теперь он будет ещё больше, чем прежде, влиять на систему Musicoin в ответ на возникающие проблемы. Так было предложено новое, хоть и довольно спорное дополнение к блокчейну: UBI или “Универсальный Базовый Доход” (“Universal Basic Income”).
Изначально спорность UBI заключалась в том, что всё выглядело как социалистическая программа, прикрученная к блокчейну. Многие сторонники криптовалют по сути либертарианцы, а потому всё, что создаёт систему всеобщего благосостояния, например UBI, вызывало немало удивления. Тем не менее если присмотреться, оказывается, что это гораздо более изобретательно, чем устаревшие монетарные политики.
Во-первых, UBI решило проблему удержания людьми монет MC путём изменения способа вознаграждения для артистов. Отныне одно проигрывание стоит не 1 MC, а то количество MC, которое по стоимости равно 2-м центам USD (хотя данное количество может меняться, это всё равно больше, чем предлагают другие стриминг сервисы). Таким образом, прослушивание музыки будет приносить стабильный доход, а сторонники MC будут наблюдать увеличение капитала вместе с расширением и ростом всей системы.
Эта схема UBI показывает как поток MC решит возникающие проблемы с глобальной музыкальной индустрией.
Во-вторых, любое прослушивание в системе Musicoin становится безплатным для слушателя. Музыканты получают вознаграждение из фонда, выделенного компьютерными вычислениями, как это было описано выше. Компьютеры проводят транзакции и одновременно создают новые монеты, это называется “майнингом”. Теперь майнеры платят артистам, тогда как для слушателя всё остаётся безплатным. Больше, чем просто социальная программа, система UBI делает майнеров Musicoin прямыми конкурентами Universal, Sony и Warner. Но кто все эти майнеры? Майнером может быть любой, у кого есть компьютер и современная видеокарта. Фактически любой геймер легко может “копать” MC. Так, обычные люди со всего мира майнят MC и таким образом помогают строить систему, которая поощряет артистов и слушателей совершенно новым способом. Если вы хотите узнать больше про майнинг MC – посмотрите это хорошее видео (здесь и далее на англ.).
Немного больше про майнинг рассказано в этом видео.
Тем не менее система UBI – это лишь начало. На конец 2018-го намечен новый поворот: Proof of Sharing (Доказательство распространения. Хотя оно возможно будет переименовано в Proof of Play – Доказательство прослушивания, об этом можно посмотреть здесь). В этой системе те пользователи, которые активно делятся контентом, помогают майнить MC. Если хотите узнать, как всё устроено в деталях, можете прочитать их “Белую бумагу” – в этом документе полностью обрисовано устройство платформы и все её параметры. Будущее платформы в долгосрочной перспективе описано в “Дорожной карте”.
Существуют и другие цифровые валюты, нацеленные на решение проблем глобальной музыкальной индустрии, но Musicoin значительно отличается от них. В первую очередь Musicoin работает на собственном блокчейне, тогда как остальные используют разработки других криптовалют, которые проводят массу прочих транзакций помимо собственно музыки. Потенциально это делает Musicoin более быстрым и способным к охвату многочисленных пользователей в будущем. Другой важный факт – это первая стриминговая система на технологии блокчейн, используемая одинаковым образом как артистом, так и слушателем. Будучи таковой, она первой успешно справится как с реальными мировыми проблемами, так и с модными тенденциями. По сути, Musicoin уже проверен в бою и протестирован в приложении к реальному миру.
Вот несколько ранних этапов развития Musicoin, которые помогли сформировать его эволюцию и адаптацию:
Musicoin стал первым стриминговым сервисом на блокчейне, который смог публично привлечь музыкантов и слушателей.
Формируется The Musicoin Alliance: к нему присоединяются поставщики товаров и сервисов для помощи в промоушене и утверждении Musicoin.
The Hard Data и Musicoin Pilot Program успешно раздают MC среди активных пользователей за музыкально-ориентированные продукты и сервисы: авторские статьи, фотографии, возможность приобретать футболки и подписки на журнал с помощью MC.
Будущее Musicoin стремительно реализуется. В будущем мы сможем увидеть систему Muscoin, встроенную в коммерческие продукты, такие как колонки или наушники. Интернет-радиостанции начнут транслировать Musicoin, так что артист получит вознаграждение за каждого слушателя. Веб-приложения будут легко использовать ссылки и трансляции на Musicoin. Вскоре вы будете иметь возможность купить билеты на мероприятия с Musicoin, футболки групп и весь спектр товаров и услуг, которые обычно считаются частью музыкального мира. В целом система повлияет таким образом, что артисты смогут вести достойную жизнь вместе со своими фанатами по всему миру, наслаждаясь своим творчеством. Становлению этого по-настоящему способствует Musicoin.
Взгляд Musicoin на будущее и важные этапы развития. С 1-го квартала 2017 до 3-го квартала 2019.
Постскриптум: пара вещей, о которых стоит упомянуть – у Musicoin есть эксклюзивный “укорачиватель” ссылок для Musicoin.org, http://jam.dj; также запущен новый веб-сайт, администрирующий политику dj-миксов: http://musicoin.dj.
Справедливости ради надо признаться (если это ещё не стало очевидным) – The Hard Data являются большими фанатами Musicoin. Мы пользуемся им для оплаты труда авторов и принимаем для продажи футболок и подписок на журнал. Musicoin помогает нам финансировать создание контента на theharddata.com. Так что мы действительно заинтересованы, когда речь заходит о Musicoin. В общем, вряд ли вы найдёте лучшую музыкально-ориентированную цифровую валюту. Призываем вас убедится в этом самим, если вы нам не верите.
Перевод: Harhor
Ред. : Cikada
Dedicated to the harder sound of electronic dance music.
