Are you ready? Are you sure you’re ready for this? We don’t think you are, but you better get ready. Switching Styles has the answers you need with this interview with Notedead.
Introductions All Around!
Max Preuss (drums) and Trymer Martin (guitars/vocals) combine to form the band, Notedead. It all started where all great bands start, with a passion for music. The band found their start during the 2020 global COVID-19 pandemic, despite the hardships. Everything was rough. That didn’t stop them. For Notedead, this was a new beginning. The band formed in 2020 and has been rocking the world since.
Q&A Between Switching Styles and Notedead!
In an interview with switching styles, they’ve opened up about their band, their process, and their goals. Read below to get to know Notedead even better!
What is it about music that makes you feel passionate?
Music emits emotion. I long to feel what the artist felt when they wrote the song and kind of experience it together. Music is also everywhere, from malls to elevators. And rhythm is in footsteps and your heartbeat, it’s everything.
The emotions a song can put you through makes me feel alive
How did Notedead start and how did the Covid 19 Pandemic impact your band?
Early on in Covid times when everything stopped and when we couldn’t jam with our bands Trymer started writing his own stuff and asked Max to write drums along with it. We both quickly realized that our writing for our respective instruments clicked together.
We started ripping out songs super-fast, so we decided to continue writing under our own band together which is Notedead.
How is being an Edmonton-based band impacted Notedead?
It’s funny because only half of the band (Max) is Edmonton based and the other half (Trymer) is from Lacombe so it’s almost a long-distance type band relationship.
The local music scene in Edmonton has a great group of people who support and encourage us, and we are forever grateful.
What inspired you to start playing and making music?
Trymer:
Before I got into my own music I listened to my dad’s classic rock/metal, Iron Maiden, Black Sabbath, Foreigner, ZZ Top, etc. Anyways but I’m in grade 5 I had some project to do at school and there was another classmate who did his project, but his was on Sum 41 and it caught my eye, so I got the CD “all killer no filler” at a Walmart in Manitoba, and that cd changed me.
From there I adopted my first taste of music away from my parents and it inspired me to want to play guitar, the ball started rolling from there!
Max:
Rock band. I loved the game because I was able to some of jam along to my favorite songs while simultaneously learning a basic version of the drums. I got very good at that game, and it made my transition into real drums very easy.
My music teacher in junior high band class then asked if anybody knew how and I volunteered to learn some percussion. The rest is history, between drum lessons, drumming for my high school jazz band & winning jazz artist of the year, it’s safe to say I’m a real drummer now
What bands or genres inspire your sound?
Counterparts, Napoleon, Dance Gavin Dance, to name a few… but it’s really so hard to say what inspires our sound, so many bands growing up shaped us into the musicians we are and what our preferences are as well.
We also use it a lot! Of dead notes haha
Describe your creative process when you write new music.
We both write our music on Guitar Pro. being as we are far away from each other, and we both enjoy the punctualness we can read. Trymer usually comes up with the first riff and then sends it to Max and Max writes the drums and then we work together from there, writing the song section by section.
Sometimes there will be a pre-discussed idea before we start on our next track, but we always write song by song and never add too much to our plates.
What’s your favorite venue for performing? Why?
We don’t play shows as we are only a 2 man band writing songs to share with people, but if we could Trymer would want to play the St. Andrews United Church in Lacombe as he used to play local punk shows there growing up (it’s kind of odd I know, but it was so much fun!) and Max wishes we could play at Polar Park Brewery in Edmonton but it unfortunately just closed down.
What are some of your current projects?
Currently, we have some new music in the bank but nothing to confirm aside from our new album “Separate Paths”. However, Max is in 2 other bands, Withered Days and Sol Runner.
What advice would you give to musicians just starting?
Listen to music as often as you can. Find something that you wish you could make your own and take that drive to make your own with your inspiration and feelings
Don’t give up, you’re going to suck at times, but music is a lifelong partner if you let it be.
Is there anything you wanted to mention that I didn’t ask about?
Yes, our new album ‘Separate Paths’ is out September 9th
This content was sponsored by Notedead. Thank you for supporting local music blogs like Switching Styles!!
Are you sure you’re ready for this? Are you ready for truly hardcore music? We don’t think you are, but you better get ready. Notedead is one of the most hardcore bands in the province, and they’re not stopping any time soon.
Introductions
The band formed in 2020 and has been rocking the world since. They’ve been releasing music since their debut in 2021 with the release of their Best Wishes EP. Then the single “Labyrinth” was released a year later.
Max Preuss (drums) and Trymer Martin (guitars/vocals) combine to form the band, Notedead. It all started where all great bands start, with a passion for music. Despite the hardships, the band found their start during the 2020 global COVID-19 pandemic. The covid pandemic was a tough time for Canadian musicians. Venues were closed. Live performances were limited. Finances for everyone were rough. Everything was rough. That didn’t stop them. For Notedead, this was a new beginning.
Getting Started.
Trymer started writing instrumental tracks solo during the quarantine. Channelling the pressure, uncertainty, and anxiety into the melodies, he created three of Notedead’s first songs. But something was missing, and that something was Max. As a drummer, Max had felt the impact of the pandemic firsthand. Trymer reached out and Max took to his role like a fish to water. They both quickly realized that their writing was an amazing match. That’s the exact moment that Notedead was created.
You may think you know the post-hardcore genre, but not like this. Max is a drummer, not only for Notedead but also for Withered Days and Sol Runner. His skill combined with Trymer’s artistry makes entirely unique music. This band brings something fresh to the post-hardcore genre. The band is inspired by classic rock and metal legends; Iron Maiden, Black Sabbath, Foreigner, and ZZ Top. That’s not all. Notedead’s influences also include contemporary bands such as Counterparts, Napoleon, and Dance Gavin Dance. Notedead is breathing a new kind of life into the genre with its music.
“A dynamic, immersive, and progressive assimilation of heavy influences. Rangy guitars work that balances urgent and melodic astutely and a pummeling vocal delivery intertwines deftly with the instrumental unit”
This post-hardcore Canadian band is bringing out all the stops in their music. Notedead is bringing forth impressive drums, emotive lyrics, and an emotional connection to each one of its listeners. All their music has such a profound level of depth to it. Each note, each strum, and each word have a meaning and a purpose. That purpose is to connect with the listener within that moment.
Their most recent release is an album called “Separate Paths.” This album of 11 hardcore songs has been available as of September 9, 2022. Not even one of the album’s songs is flat when it comes to emotions. The songs all tell a story of humanity and share a part of the human condition. Pain, anger, joy, rage, and misery, it’s all there in their music.
Notedead is aiming to be one of the greats coming from right here in Edmonton, Alberta. The goal was never to impress people. It never has been. It’s been about the music. The real goal is to write great music that speaks to the human heart. Find their music online on Apple Music, Spotify, YouTube, and Bandcamp.
Almost There But Not Really is a Latinx indie group from the Southside of Chicago. With the genres of alternative Spanish rockdream popindie rockpost-punk, these Chicago local musicians showcase what it means to be musical.
They play sad, sombre and sometimes political songs complete with chimney Fender guitars, syncopated rhythms, as well as ambient trails. This Chicago-based band has a range of amazing sounds.
Releasing a collection of demos in the spring of 2021, ATBNR has persevered despite the pandemic impacting the entire world. On their Bandcamp account, they explain that “Emerging out of the pandemic is our first release, a set of our self-produced and recorded demos”.
All of their songs are available on Spotify. Their release isn’t the only thing that this band has persevered with. As soon as they were able to perform live, they did.
Almost There But Not really Band Members
During the Halloween of 2012, they performed a Halloween show at Magoos Bar and Grill alongside Death of Self, Alive Alone, Punch Club, Nikko Blue, and Sweet Hudson. With more shows coming up regularly, they’re not likely to stop providing awesome songs to their fans. Check out their upcoming shows on their Facebook page.
Music Piracy has resurfaced as a conversation during the covid-19 pandemic due to the financial struggles of Musicians and their audience.
“Unfortunately, this is a conversation that will never go away. Pandemic or not, people will still pirate music and we will have to keep working on ways around it,” explains Angeles Joselito.
Joselito owns and operates Apollo Entertainment Company, playing for live events such as corporate parties, weddings and much more.
In 2019, the International Federation of the Phonographic Industry (IFPI) published a report that showed how people engage with musical content online, which typically includes streaming music platforms.
However, there is another way to get music that is illegal which is called Stream ripping.
Music Piracy Statistics
“Stream ripping is the illegal practice of creating a downloadable file from content that is available to stream online. It is now the most prevalent form of online music copyright infringement,” explains the IFPI report, “Of those 62% of those accessing content by unlicensed means would choose on-demand streaming to find and listen to music if copyright infringement was no longer an option”.
Music Piracy Statistics
What is Music Pirating?
Music piracy is when someone copies, downloads, or distributes a piece of music without the consent of the owner. This is a form of copyright infringement because the owner didn’t give consent for how the piece is being used.
27% used copyright infringement to listen to or obtain music in the past month. 38% of them were aged 16 to 24 23% used stream ripping and 34% of those are 16- to 24-year-olds.
What is copyright infringement?
Copyright infringement is when you use any of the rights held by the owner of their intellectual property without permission. Intellectual Property Law is to protect the products of the mind, such as art, music, inventions, narratives. The laws are put in place to provide incentives to creators, and to limit unfair or exploitative work. Unlike other forms of property, ideas aren’t tangible. One cannot lock it away to avoid another getting to it or ensuring that nobody else ever thinks that same thought.
The rights held by the copyright owner include to produce, reproduce, perform, or publish a work; to translate a work; to convert a dramatic work into a novel, non-dramatic work, or sound recording; to convert a non-dramatic or artistic work into a dramatic work through public performance; to communicate a work by telecommunication; to reproduce, adapt, or present work by film or photograph; to present an artistic work at a public exhibition (works created after June 7, 1988); to create a sound recording of a musical work; to license computer software; to reproduce any performance that has been fixed; to fix any performance that has not yet been fixed; to reproduce, license, or publish sound recordings; to fix or reproduce broadcast signals; to authorize another broadcaster to simultaneously retransmit the signal (McInnes, et al, 2018). Several of these rights, if not all of them, are easily manipulated by the internet and its users because of the sheer ease of accessibility.
Why is Copyright infringement an issue?
Music piracy has been a hot controversy since the late 20th and has continued onwards to the present time. The implementation of the internet for average use by consumers brought music piracy to what it is today. Platforms for music downloading such as Napster, LimeWire, And Pirate Bay have gotten heat due to lawsuits, copyright laws and the Digital Millennium Copyright Act. The main issue of music piracy is that it is a copyright infringement and is in essence takes the artist’s work, creativity, and intellectual property for granted.
Cody Blakely is a local musician and recording engineer in Edmonton, Alberta. He has experience in working with musicians from local to international acts throughout his past 3 professional years as a musician.
“I personally don’t think people understand exactly how much money musicians invest into their own music, or how much money is invested. I say money, but also at the same time; becoming a musician that people care about is not an easy thing. It’s a 10,000-hour job it’s just like any other trade, anything like that. The music industry itself creates a lot of problems. Yeah, just even the way record labels and whatnot sort of conduct their contracts and why not it borderline in a lot of ways makes it impossible for musicians to make money. for every Platinum-selling artist that you have, there are 10 million bands that are rubbing pennies together trying to afford to make a record. I think a lot of the problems with pirating A lot of it just kind of comes from people not necessarily thinking about essentially what goes into making a record or being a musician and, and whatnot. But I also think that the record labels themselves they’re not helping the cause. Even if pirating wasn’t the thing, I still don’t think that there’d be a tremendous amount of well shared with the artists”, explains Blakely.
But is it really an issue?
The argument for pirating music is that it’s not bad to download music because artists make more of their money through concerts and merchandise.
When asked how to support artists during hard times such as Covid – 19, Blakely comments, “If you have any spare money, please contact a band directly to ask to buy their merchandise. Don’t go from a streaming service or Bandcamp unless they are extremely far. If you message a band and ask to buy their merch they would be over the moon! Every little bit helps”.
That argument is difficult to assess a direct correlation between a loss of sales and music piracy. There are people that would prefer to purchase tangible CDs regardless of the accessibility to pirated copies. On the other hand, pirating music typically has zero cost to the consumer which is preferable because they wouldn’t otherwise be able to afford to purchase the legitimate copy. This means that every download doesn’t necessarily equal a loss in sales.
“In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 million to 803 million units; revenues fell 6.7 percent. This confirms a trend over the past few years. The RIAA blames Internet piracy for the trend, though there are many other causes that could account for this drop. SoundScan, for example, reports a more than 20 percent drop in the number of CDs released since 1999. That no doubt accounts for some of the decreases in sales… But let’s assume the RIAA is right, and all of the declines in CD sales is because of Internet sharing. Here’s the rub: In the same period that the RIAA estimates that 803 million CDs were sold, the RIAA estimates that 2.1 billion CDs were downloaded for free. Thus, although 2.6 times the total number of CDs sold were downloaded for free, sales revenue fell by just 6.7 percent… [So] there is a huge difference between downloading a song and stealing a CD”, explains Lawrence Lessig, author of Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (2004).
What are the legalities of music piracy?
Canadian Legality of Music Downloading and Uploading can be confusing at first glance. In overly simple terms, it’s illegal if you make money from it such as uploading music content for money or selling/renting out copyrighted material without permission. However, that being said, it’s legal to download for personal use, downloading music onto public sites (Without getting money), and Peer to Peer Online sharing (For personal use only).
For example, it’s not illegal for someone to use “Kids” by Childish Gambino in their Tik Tok but they can’t sell that content as completely their own.
According to Copyright Laws in Canada, music is more complex than other copying or uploading elements. Due to music specifically has the “Private Copying Exception” while things like books, Movies, and Software are illegal to copy or upload without purchasing or getting express permission from the copyright holder.
What are the penalties for copyright infringement?
For smaller cases of copyright infringement, the penalty is a fine of up to $5,000 for non-commercial use and up to $20,000 for commercial use.
For Larger cases of copyright infringement otherwise known as selling or rental or copyrighted materials, the penalty is up to 1 mill or 2-year prison sentence and is an Indictable offence. A summary offence carries a maximum fine of $25,000 or a maximum sentence of 6 months.
What do musicians think?
Even amongst musicians, there’s a debate on whether music pirating is positive or negative.
Phillip Rodda, the drummer for Medical Pilot explains, “Unfortunately, with streaming becoming as mainstream as it is, the actual sales of albums have dropped a huge amount with piracy or without. I know for me personally, I’ve never really cared if people have ripped my band’s songs off of YouTube to keep on their phone. I’ve just been happy that they’re taking the time to listen! There’s been a lot of talk in the industry about this big shift where your music is now serving as an advertisement for your brand and image rather than the other way around. With the big piracy craze in the early 2000s and now Spotify’s extremely small margins on streams, a lot of artists I know have accepted that as life and have just adopted new ways to have their music be heard as much as possible while still making money.”
This may be true but that’s not the case for all musicians that get their money from the sales of their music directly.
“According to Woolley’s introduction each year It is estimated that 12.5 billion dollars are lost due to file sharing and music piracy, and 5 billion of that is profits lost from the music industry directly. Due to this dramatic loss in profits the music industry has been forced to cut down its staffing. Music piracy has become such an issue that the industry is encouraged to adapt to this new era and change,” explains Woolley, D. J, author of “The cynical pirate: how cynicism affects music piracy” (2010).
How does the covid pandemic impact music piracy?
Blakely explains – I get right now it would be foolish to assume everyone has extra money they can spend buying records. I haven’t purchased a record myself in a bit and I subscribe to a streaming service, so I am not exactly helping the situation, but I also feel like I buy a lot of music right from the bands. Plus, with record shops being closed down or having limited access it’s tough to acquire music. It’s a tough situation. There are some people who haven’t felt a loss in income and if they can help support a local band by buying some of their merchandise it would mean the world to them.
Lawrence Lessig (2004). Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. New York: The Penguin Press. ISBN1-59420-006-8. OCLC53324884.
Students during Covid – 19; Q&A with Kerdessa Gibson Also published on fundyourcollege.com.
Kerdessa Gibson (She/Her), is a 21-year-old student currently taking her Animal health technology at Lakeland University. Her classes are a mixture of online and in person.
Students During Covid – 19 have more than just a full load to deal with. Students have a full load when they take on school; exams, studying, assignments, extracurricular. They do all this while balancing a healthy life, and a job. Add in the pandemic, and it’s a whole new story.
Please describe how your classes are set up.
I have 2 in-person classes and 1 in-person lab a week and the rest online.
In what ways has the pandemic improved your learning?
I can study at my own pace without the stress of having set deadlines
In what ways has the pandemic made learning harder?
I find it easier to pay attention to important material in class
Are you able to participate in extracurricular activities? If so, what are they?
No
What advice do you have for other students?
Make sure you schedule time for yourself because with doing work at home it’s easy to forget that you should have a break
How do you think this pandemic would change learning in the future?
I think it’s going to make it harder for kids to be social and learn props in a classroom setting
Here’s the musical element of the students’ experience. Enjoy these remixes for all your studying needs both during and after the Covid-19 Pandemic!!
Students During Covid – 19; Q&A With Shauna Lee is also published on fundyourcollege.com.
Students During Covid – 19 have more than just a full load to deal with. Students have a full load when they take on school; exams, studying, assignments, extracurricular. They do all this while balancing a healthy life, and a job. Add in the pandemic, and it’s a whole new story.
Shauna Lee Is an international student travelling from Canada to University College Cork in Cork, Ireland. There she is taking her Ph.D. in Museum Studies.
Although taking a Ph.D. is largely an independent task, her research thesis has been made even more interesting by the Covid-19 Pandemic.
How Did You Decide On Your Major?
I don’t really have a major. Since my Ph.D. is research-based it’s entirely rooted in my own self-determined field of interest/work, which is museums. I’ve worked for 15 years in the museum sector, so the pursuit of my Ph.D. is just a natural continuation of my learning/career development. My research is rooted in the Archaeology department because that is where the Master’s in Museum Studies programme is based. I approached the department to see if they would be willing to take me on as a researcher and if a member of the faculty would act as my supervisor. I’m pursuing the first to pursue Ph.D. in museum studies within the department.
Can You Describe A Bit More About Your Research And Your Research Topic?
My research is rooted in the emerging concept of museum activism. This ultimately has me seeking out examples of the ways in which museums are using their collections, exhibitions, and programmes to inspire, implement and activate positive social change. I’m exploring how museums can become activated themselves as institutions and inspire visitors to take action against things like racism, inequality, human rights abuses, and climate change.
What Drew You To Attend University College Cork In Ireland?
I did the Master’s in Museum Studies here in 2015-16. I applied to that programme because I had previously lived in Ireland on a working holiday visa in 2013 and I wanted to return to Ireland.
Is Your Program Primarily Online, In Person, Or Mixed?
My degree is not a taught program, it is research-based. As such, pandemic or not, I wouldn’t be attending in-person classes. I may have chosen an occasional in-person module to enhance my study experience, but I’ve chosen from online options instead. In some ways, I feel this has been preferable as it is less disruptive to my overall workflow.
Please Describe How Your Coursework Is Set Up.
My research is very much a solitary and self-directed endeavour. As such, I’ve developed an ideal home office space so that I can work at home, something I would have chosen to do pandemic or not. In addition to this, I occasionally meet with my supervisor, present at university conferences and seminars, and lecture for the master’s in museum studies program. All of these things have easily shifted online. I also engage with peer groups of other postgraduate researchers. This has probably been better in the digital space that Covid has allowed to flourish. I think I interact with them more regularly than if we were to occasionally schedule an in-person meetup as would have been typical pre-pandemic.
How Has The Pandemic Impacted Your Learning?
Ideally, my research would have included a number of research trips to visit museums and evaluate their programs and exhibitions in relation to my research topic. I’ve dealt with the inability to do this by restructuring my research activities and pushing in-person visits to later in my process.
Additionally, I’m focusing more on virtual exhibitions and other online initiatives offered by museums. The pandemic has forced museums to adjust their practice and they are producing a lot of great online content. Finally, I’ve also devoted a significant amount of time to attending online conferences like museum next and the Museums Association. This has allowed me to connect with other museum professionals and keep informed of emerging ideas and projects relevant to my research, and like my academic peer networking, I’ve been able to do more of it than if I were to have to attend conferences in person. As I believe this overview of my activity suggests, the pandemic has not prevented me from being able to pursue my research and make significant progress.
What Policies Has Your School Put In Place For The Pandemic for it’s students?
Online instruction, mask-wearing/sanitizing/social distancing protocols, capacity limits/restricted access/pre-booking of campus spaces/services like libraries/computer labs/study hubs.
Do You Think They’re Working?
I’ve only needed to be on campus five times since September. On those occasions, I observed very few other people, faculty, students or otherwise. This made me feel safe when I did have to go to campus.
Are There Non-Academic Government Policies That Are Impacting Your Learning?
Yes. My research topic is “Curating Change: A Trans-Atlantic Study of Activism in Museums”. This ultimately has me exploring examples of the ways museums are using their collections, exhibitions, and programmes to inspire, implement, and activate positive social change and take action against things like racism, inequality, human rights abuses, and climate change. Ideally, due to the Trans-Atlantic focus of my research, I’d be conducting research trips to museums in Ireland/Britain and Canada/USA. Nationally imposed travel restrictions and mandatory quarantine requirements during the pandemic have made this kind of international travel impossible at present.
Would You Change Anything About Your Academics?
I think it could have been really exciting to pursue my Ph.D. split between 2 universities. Here in Ireland and maybe somewhere in Canada. This would have allowed me to benefit from double the resources and faculty support. This kind of split-institutional research isn’t entirely unheard of but requires advanced cross-institutional negotiation as the student still needs to be primarily based at one university or the other. It would have been interesting to explore if this would have been a possibility in my case but considering the pandemic it probably would have been hindered by travel restrictions.
How Has The Pandemic Impacted Your Life Outside Of School?
Yes. I haven’t been able to enjoy the perks of living abroad as much as would like to be. You can imagine that I’d typically be spending my weekends and time off exploring the country and visiting some of my favourite places from previous sojourns to Ireland. I’d also likely be taking advantage of my close proximity to the rest of Europe. Neither of these things has been an option as for much of the pandemic we’ve been under quite severe restrictions, at times even limited to within 5 km of our homes.
Also, if it were not for Covid I would be spending my leisure time in pubs, restaurants, local attractions, and just enjoying the city of Cork. The inability to do this has limited my opportunities to meet people and socialize, an important part of developing a sense of feeling at home while living abroad. Thankfully, I’m living in a rental with four other housemates, so the pandemic restrictions haven’t been completely isolating. Finally, pandemic restrictions prevent me from travelling home to Canada if I so desire.
For example, I was not able to come home for Christmas. I made the best of it though and took advantage of a brief relaxing of restrictions here in Ireland. I rented a car and a cottage on the Dingle Peninsula and enjoyed a wonderful, despite being solitary, Christmas by the seaside.
Has The Pandemic Impacted Your Mental Health?
A little bit. Mostly in regard to things that are out of my control. Like not being able to readily travel home to Canada if I needed to or when my housemates aren’t being as strict about covid restrictions as I am (not that anyone isn’t taking it seriously, I’m lucky to have great housemates in that sense). Anyway, to cope with this, I focus on the things that are in my control.
For example, to make me feel less stranded I signed up as a Canadian living abroad with the Canadian consulate in Dublin. Even just having them send occasional email updates regarding the Covid situation makes me feel less disconnected. In regard to my housemates, if I’m feeling worried about exposure, I change my behaviour by taking the time to sanitize shared surfaces, wash my hands more, stay in my room more/use the common spaces less. This is an easier approach to making myself feel better than trying to worry too much about what others are doing.
What Advice Do You Have For Other Students?
1. Stay connected with supervisors/instructors and other academic supports as best you can,
2. Keep to a schedule/routine just like you would in a campus-based environment,
3. Be flexible/creative regarding your work plan/learning process,
4. Embrace the opportunities (like digital research projects or virtual study groups) that you likely wouldn’t have encountered if the usual way of doing things hadn’t been disrupted.
Here’s the musical element of the students’ experience. Enjoy these remixes for all your studying needs for all students regardless of level.
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PhreniaBand,
Although it is not the first of its kind, Pokémon Go has made an augmented reality in video games at the forefront of everyone’s mind. This means that through your phone, you can have the Pokémon universe shown in your world.
Catching Pokémon that appear in your living room or playing with your Pokémon buddy out in the park, there’s a lot of ways that the game interacts with reality. One of the elements is walking to hatch eggs. Each egg requires a certain number of kilometres to hatch an egg ranging from 2 km to 15 km.
Walking! It’s the simplest way to do hatch your eggs. Whether it’s a simple walk to the store or a long Sunday stroll, it all adds up to hatch your Pokémon. While the app is on and even when it is off, the app tracks the distance that the player walks to track the progress of the egg. Altogether, players have walked over 23 billion km as of March 2019 (Games Radar). In 2016 alone, players walked 8.7 billion km (Inverse). That’s enough to get to the end of the Solar System.
Here are some, YEG locations to walk to get your hatching started!
Why do you have to walk to hatch eggs in Pokemon Go?
It encourages players to get out in the world and walk. It’s inspired many to increase their physical activity. Thus, hatching more eggs and bringing in more exercise. Below we’ve got some musical suggestions to get you in the walking and hatching mood.
Niantic launched Pokémon go in the July of 2016. Since then, its popularity has grown exponentially. After only three months following the launch, the app had 500 million downloads. This increased to 1 billion in march of 2019!
We’ve found some numbers that are sure to blow your mind!!
Switching Styles has collected a list of Pokémon Go Statistics & Techno Remixes to show off whenever it comes in handy.
Niantic launched Pokémon go in the July of 2016. Since then, its popularity has grown exponentially. After only three months following the launch, the app had 500 million downloads. This increased to 1 billion in march of 2019!
We’ve found some numbers that are sure to blow your mind!!
The US accounted for only 19% of Pokémon GO downloads over 2019 (10 million, up from 16% in 2018). (Sensor Tower)
Brazil accounted for 10% (5 million) of the downloads, while India accounted for 6% (3 million). That’s a lot of downloads! (Sensor Tower)
Most of the users (69%), a whopping 38 million in 2019, use the app on Android, and the remaining 31% (17 million) iOS (Sensor Tower)
US was the top country for Pokémon GO revenue in 2019, contributing $335 million – or 38% of the total. Japan was second, with $286 million (32%), followed by Germany, with $54 million (6%) (Sensor Tower)
Although downloads have grown exponentially doubling from 500 million to 1 billion in less than 3 years, the in-app spending has not increased that much. It started at 832,000,000 in 2016 and increased only to 894,000,000 in 2019 (Business of Apps)
Between android and apple, the in-game spending is a bit more even. Android has 54% of 2019 Pokémon GO revenue ($482 million), while the apple revenue coming to $412 million (46%) (Sensor Tower)
Pokémon GO was fifth in terms of global mobile game revenue over 2019 (Sensor Tower)
Over the year 2019, there were 2.7 million attendees of Niantic live events (Niantic)
Here’s one for gender, as 59% of Pokémon GO users are men and 41% are female (Inc.)
In the first month of release in 2016, nearly 300 UK crimes were connected with Pokémon GO (BBC)
A study from Purdue University found that the game could be dangerous as there are two deaths, 31 injuries, and $500,000 in vehicle damage that could be blamed on the game in a single county in Indiana (Purdue University)
Where did I find these Pokémon go statistics? Check the links for my references!
Check out these Pokémon go remixes while you share these fun facts with your friends.
“Pokémon Ruby & Sapphire Music Medley“ by Dr. Pez – VGM. Check it out.
Do you know what goes together? Pokémon Go and picnics.
Out in nature, or as in nature as you can get in the heart of Edmonton, the engagement and immersion of Pokémon go is much improved. With the open space, it’s a lot easier and more fun to use the augmented reality (AR) aspect of Pokémon go. Anyone who has played Pokémon Go during the covid pandemic knows how hard it is to use the AR function inside.
Within Edmonton, there’s a great deal of beautiful nature that shouldn’t be forgotten about. Here’s a list of amazing open areas that are fantastic not only for Pokémon go but also for their view and availability for social distancing. Once you have a chance to check each of these picnic places, share it with us @switchingstyles!
The River Valley
Broadmoor Lake
Griesbach Community
Alberta Legislature Grounds
William Hawrelak Park
Griesbach Barracks
Sir Winston Churchill Square/Jasper Ave
Edmonton Valley Zoo
University of Alberta
Queen Mary Park
Music for the Pokémon Go picnics
Now don’t think we forgot about the music element. Every picnic needs music and we’ve got you covered. Below here is our favourite list of Pokémon go covers in different styles for every kind of picnic.
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Orchestral music may have gotten its start around the renaissance in the 17th century, but it hasn’t lost its relevancy as a music genre. Current research from the Canadian Council of the arts, and Orchestra Canada shows an increase in revenue and attendance for orchestra performances between 2018 and 2019. However, that’s increase has ended with the rest of the music industry since the start of Covid-19.
The orchestra of Canada shows that income has increased by an average of 15% all across Canada since 2015. The average annual revenue for orchestral music in 2017-2018 is $210,365,000. The following year, the average annual revenue increased to $218,333,085. The total revenue increased by 3.8%.
This corroborates the projections from the CCA’s report published in the CCA’s report.
“Between 2010 and 2017, these show that revenue amounts have been increasing. Of the responding orchestras, they reported an increase of total revenue from $28.6 Million in 2016-2017 to 176.9 million in 2010-11. As shown below, orchestras make money in multiple different ways including earned revenue, public sector revenues, private sector revenues and of course other,” explains the report.
Orchestras and Pandemics
Most of Canada’s orchestras are not-for-profit organizations and registered charities.
“In 2018-19, according to OC’s comparative data from 71 of our largest member orchestras, orchestras derived 35.8% of their revenues from ticket sales and sold services, and 40.2% from individuals, corporations, foundations, and special fundraising events. Government support (from all three orders of government) made up the difference. Our members reported revenues of almost $218 million and connected with 2.8 million Canadians.”
That being said, this isn’t the first pandemic to hit orchestral music.
“While we are certainly living in unusual and challenging times, Covid-19 -19 isn’t the first global pandemic that has struck our communities and shaken the arts industry. The Canadian orchestral landscape was much younger when the Spanish Flu of 1918 hit the country, just months after the end of World War I. Much like what we’re seeing right now, many industries, including the arts, were forced to close their doors to stop the spread of the virus.” reads a report from Orchestras of Canada.
In 2020, Orchestras are facing a stressful time with up to 76% of their income vulnerable as Orchestra Canada explains.
According to the live vitality from Canadian Live Music, on a yearly basis, presenters attracted an average attendance of 38,000, with a median of 5,700. Paid attendance represents 68% of total attendance. A loss of attendance for live performances is the main aspect impacting musical performances throughout Canada.
“Depending on the size of the orchestra, anywhere from one to well over 200 people are paid to do work directly for and with the orchestra each season, and they are all vulnerable to changes in their orchestra’s financial health. Orchestras also tend to plan and market their concerts 18-24 months in advance.”
In terms of financial support, there is support for Canadian orchestras, but there is a gap as there is for all Canadians at this time. All combined, this leaves Canadian orchestras in a tough spot to be able to continue.
Well-run orchestras will return to large-scale orchestral concerts, but some orchestras will not recover: 63%
Large-scale orchestral concerts will return to pre-COVID-19 levels after a few years: 25%
I fear large-scale orchestral concerts are a thing of the past.: 7%
Large-scale orchestral concerts have already returned in my geographic area.: 5%
But why does it matter what happens to the music industry?
“When I watched a man with dementia shuffle into one of our concerts with his wife, and he sat at the back of the hall, seemingly unresponsive to those around him…then, his eyes lit up and he asked his wife to dance, and gracefully danced with her at the back of the hall for most of the evening! The power of the arts!” Bassano Arts Council Bassano, AB from Live Vitality.
