The article discusses the phenomenon of 'fan-bots', where real-life fans use social media platforms like Twitter, Facebook, and WhatsApp to organize and promote their favorite music artists by increasing likes, votes, and plays. This behavior is likened to digital bots in its organized effort to boost artists' popularity in music rankings. The article highlights the case of Brazilian pop stars Anitta and Pabllo Vittar, whose fans employ tactics such as IP switching and browser auto-refresh extensions to inflate play counts. Fan sites like Central Anitta provide tutorials on these methods. The article also touches on the Coca-Cola FanFeat marketing campaign, where fans vote for artists by submitting photos of the beverage's packaging. The article includes comments from researchers Adriana Amaral and Fernanda Bruno, who provide insights into the changing nature of fan engagement and the implications of performance culture in the digital age.

Tulio Morais, a 29-year-old from Belo Horizonte, is working at the Opéra Garnier in Paris, where he is involved in the creation of ballet costumes, including tutus. He joined the opera house through a program for young professionals and is the only Brazilian selected for the 2018-19 season internship. Morais, who has lived in Paris for four years, is developing a ballet costume that includes a tutu as part of a 20-piece collection inspired by the Brumadinho tragedy. The tutu features eleven layers of black tulle, three layers of copper-colored fabric, and a firm, pleated copper-colored disc around the waist. Morais's work is influenced by his aspiration to become a high-fashion designer and his emotional response to the Brumadinho disaster.

Marcela Xavier recounts her experience witnessing the Notre Dame Cathedral fire in Paris, where she has lived for twelve months. She describes the collective shock and the impromptu gathering of people singing hymns, the media's arrival, and the personal reflection on the tragedy's impact. The cathedral, a UNESCO World Heritage site and a national symbol, was undergoing a devastating fire that drew locals, tourists, and media attention. Xavier reflects on the human impulse to witness tragedies and the philosophical implications of facing disaster.

The article discusses the use of medicinal cannabis in Uruguay, highlighting its historical use and the emphasis on the CBD to THC ratio for medical treatments. It covers the author's personal experience consulting with Dr. Mariano Velázquez and Dra. Julia Galzerano at the Expocannabis 2017 event, where the medical community's acceptance of CBD for conditions like epilepsy, rheumatic arthritis, and Parkinson's disease is noted. The article also touches on the legal restrictions for non-residents in obtaining cannabis prescriptions and the author's own experience with a panic attack, where medicinal cannabis was not the best treatment.

Rubber ducks have become a symbol of political protest against corruption in Brazil, Serbia, and Russia. In Brazil, the 'impeachment duck' became a mascot for a movement against taxes led by FIESP, which faced controversies including accusations of plagiarism. In Serbia, protests against foreign capital projects that don't benefit locals used the duck to symbolize their grievances, with activist Iva Bačić providing insights. In Russia, the rubber duck symbolized corruption after opposition leader Alexei Navalny exposed Prime Minister Dmitry Medvedev's alleged misuse of a charity-registered luxury mansion. The article includes perspectives from protesters and discusses the spontaneous nature of these protests, the role of the police, and the public's dissatisfaction with the political system.

The article provides a vibrant recount of the Festival Transborda 2016, which took place in Belo Horizonte, Brazil, in September. The festival featured a mix of local and international artists, including Bárbara Sweet, Douglas Din, Inky, Francisco El Hombre, Lucas Santtana, Ventre, Jonathan Tadeu, El Mató a um Policia Motorizado, and TRAD.ATTACK!. Events were held at various venues such as A Autêntica, Viaduto Santa Teresa, and BAIXO Centro Cultural, with highlights including free performances, a battle of MCs, and a festive atmosphere devoid of police repression or altercations. The article also mentions the political undertones with 'Fora Temer' chants and the overall positive reception from the audience. Photographs by Marcela Xavier and others capture the essence of the festival.

The article discusses the temporary suspension of WhatsApp in Brazil, which affected approximately 93 percent of the population. The suspension was ordered by a judge due to the company's non-cooperation with a criminal investigation related to a man with ties to a criminal group, PCC. The service was blocked as a punitive measure by São Bernardo do Campo's 1st Criminal Court. The decision was criticized for not considering proportionality and for violating net neutrality principles. The block was lifted after 12 hours by judge Xavier de Souza, who deemed the suspension unreasonable. The article also touches on the lack of understanding of technology by Brazilian judges and suggests a more graduated approach to sanctions. It warns that similar incidents may recur due to the judiciary's technological ignorance and the variability of court requests.

The article discusses the social media movement against sexual harassment in Brazil, sparked by the #MeuPrimeiroAssedio hashtag after a young contestant on Brazil's Junior MasterChef was harassed online. Think Olga, an NGO, is at the forefront of this movement, having initiated several campaigns including #ChegaDeFiuFiu to address street harassment. The article highlights the prevalence of misogyny in Brazilian society, the lack of specialized police stations for crimes against women, and the victim-blaming culture. It also mentions the efforts of other organizations and individuals, such as Vamos Juntas and Artemis, in combating women's oppression and promoting safety. The use of technology, like the harassment map and a mobile app for safer routes, is also discussed as tools in these initiatives.