Tag Archives: music

Opinion

The Perfect Thing

My first reaction was to hate it.

Actually, no. My first reaction was what a cute, almost-square book. My second was to hate it. It’s only a few pages into it and Levy is already discussing his great taste in music and disparaging mine (“… a pathetic Pet Shop Boys tune, the sort of thing that Nick Hornby would listen to on a bad day.”)

It wasn’t exactly what I was expecting. But — step back — what was I expecting? Well, the blurb on the back tells you that you can learn how the iPod became the defining object of the 21st century. Having read most of Steven Levy‘s previous books, the obvious point of comparison was “Insanely Great,” the story of the Macintosh. But while the Mac took several years to put together, the iPod took only around six months. In hindsight maybe it’s pretty obvious that it’s not all the trials and tribulations of putting the machine together.

So what is it? In some ways this is the technology version of Alain de Botton’s “The Art of Travel.” It doesn’t so much talk about the making of the iPod as discuss the experience of owning and using one.

For example, one chapter is on the idea of “shuffle” and how people use it and attach super-human abilities to its ability to select the most appropriate mixes while theoretically being entirely random. Even when he talks about the design it’s more along the lines of how it makes people feel. One interesting observation was that when people speak about the iPod, they invariably reach into their bag or pocket to retrieve their machine and start touching it, pressing the controls, polishing the screen. How many other gadgets evoke this kind of sentimental reaction?

Certainly much mirrors my own experience. I remember sitting on the tube on the way home from Tottenham Court Road after buying a first generation iPod, the tiny cube ((I suppose 2001 was when the G4 cube still held the promise of being successful.)) that it was packaged in sat on my knee, and thinking, “I can’t believe I just spent ?350 on a Walkman.” ((In fact I was lucky to get away with that. A number of shops, having just one machine left, wanted to charge me more that list price. I knew I wanted one but not that much.)) Yet when I got home and started using it, any doubt vanished and quickly it became my most prized gadget.

In fact, as I type this my fifth generation iPod is on the blink. The emotional impact of this neat pile of components being on the verge of failing is quite unlike almost any other gadget I own.

Anyway, I was writing about the book “The Perfect Thing” and not my own experience, so let’s get back to the point. If you’ve ever read any other Levy books (or his column in Newsweek) you’ll know that he has an easy, engaging style and this book is no different. He covers all the bases, touching on everything from the design to downloading music from the Internet (and the fun that Apple had making iTunes) to Podcasts.

Given that it’s more about the experience of owning an iPod the fact that it’s already dated — there’s no mention of the iPhone, the Touch or the current range of Nano’s — is less of an issue than I initially expected.

Overall it’s much more of a “fluff” piece than most of his other books, but that does not make it any less entertaining or complete. Worth a read, just not as highly recommended as “Crypto” or “Insanely Great.”

Links

My del.icio.us bookmarks for January 8th through January 11th

  • Behind bars – Looks like another fascinating documentary by Louis Theroux.
  • Music lessons – Why the music industry as it’s currently structured is dying.
  • “You Don’t Understand Our Audience” – The whole spiel by Justin Long in Die Hard 4.0 about the media cynically manipulating audiences is much closer to the truth than most people would like to admit…
Computing

iPod vs Zune for the UK

iPod vs Zune

I just read Daniel Eran Dilger’s “Winter 2007 Buyer?s Guide: Microsoft Zune 8 vs iPod Nano” but I felt that it was missing something very important for readers outside the United States.

So to fill that void here is my attempt. I have not actually used any of the new Zunes or iPods but I don’t necessarily feel that this has any material impact on the final result ((Full disclosure: my review is only slightly more biased towards Apple than RoughlyDrafted.)).

The iPod is a small, well made music player with many features albeit less than some of its competitors. It succeeds in doing what it does very well.

The Zune, on the other hand, is not available outside the US. A positive corollary of this is that it’s easy to carry, taking practically no space at all in bags and pockets, and it’s difficult to damage. Another plus is that the person sitting opposite you on the tube can’t use one at high volumes and annoy you with a tinny bass-line and their unashamed bad taste in music.

But, ultimately, the fact that it doesn’t exist has to count against the Zune and so my recommendation for the 2007 Christmas shopping season is Apple’s iPod.

Blog

What an amazing time

Gwen Stefani gig ticketOn the approach to Wembley there were a gaggle of vendors selling glowing rabbit ears and furry wands. We speculated whether this was where Gwen Stefani bought the wardrobe for her tour. They probably sell the same merchandise for most gigs here, but there are few other artists that I could imagine actually wearing such cheap and cheesy accessories.

Of course she didn’t, at least until about two thirds of the way through the set when she launched herself into the audience, alternately running around and standing in the crowd to sing a verse. At one point she borrowed some rabbit ears from a fan. Very fetching.

Okay, so I’ve now written two paragraphs about the gig and I’ve not said a word about the music. I think that’s a function of the kind of music she’s performing these days. At one end of the spectrum you have people like Madonna who do a show. This isn’t a gig in the traditional sense of the word. It’s tightly choreographed, with dancing that is tiring to watch much less perform and audience involvement limited to dancing and singing along. At the other end you have your standard four-piece bouncing around the stage; it’s all about presence, music and, maybe, a little banter. It’s a positive feedback loop.

Stefani tries to straddle the two worlds. Her dancers are energetic and well synchronised (but not quite up to the standards of Madonna’s “Confessions” tour), while she generally struts around them but not joining in. There are frequent dress changes, ranging from track suit pants to red, sparkly hot-pants. Every two or three songs she stops the music and switches into “banter mode.” We need to be louder than Paris. She’s nervous because her father-in-law is in the audience. This song was co-written by a member of Keane.

For me it didn’t quite work. The switch from the tunes to the “ad libs” felt forced, scripted in some places, random in others. You expect exhortations to sing along, but normally on the up-tempo tracks rather than ballads.

But that’s not to say that the gig as a whole failed. At the moment there are few other people making such fun, bright and energetic pop music, and even fewer with the quirky, playful nature of Stefani. “The Sweet Escape” tour reflects these qualities from beginning to end, the whole “who’s that girl” bit when the lights go down, in the choice of songs, the projected videos, the stage set and everyone performance.

In summary: well worth seeing.

Blog

Pet Shop Boys

Pet Shop Boys

We went to see Pet Shop Boys play live at the Hammersmith Apollo on the 6th. It was a great gig, possibly the best of theirs that I’ve seen. This is perhaps the fourth or fifth time I’ve seen them over the years and the first time I’ve not left at least a little disappointed.

But despite the ups and downs of their live shows, they have maintained their prime position in my music collection since at least Actually came out in 1987. That makes me feel old! Of course you can’t really rationalise something that tugs at raw emotion in the way that music often can ((Something that I’ve noticed is that pretty much all of my closest friends are passionate about music. Not necessarily the same kind of thing as me, but they’re all above your typical couple of dozen CDs.)), but that has not stopped me trying to figure out why I keep listening to them ((Such are the perils of being INTP.)).

The closest thing to a conclusion I’ve come to actually relates to something that Scott Adams, the guy that does Dilbert, wrote in one of his books (and blogged about but the link appears to be missing) about drawing successful cartoons. He says that a cartoon should utilise at least a few of these qualities:

  • Cute
  • Naughty
  • Bizarre
  • Clever
  • Recognisable
  • Cruel

I’m not sure that writing songs has exactly the same requirements, but there’s certainly an overlap. One of my favourite recent tracks is “You Only Tell Me You Love Me When You’re Drunk.” The first time you hear the title your reaction might be to think it’s funny. But the music and other lyrics are kind of sad and beautiful. And at the same time it’s almost universally recognisable. We may not have been there but we can imagine what it would be like. Each element might work individually but together they’re a killer combination.

But then, perhaps there is something to Adams’ original list. “I’m with stupid” is pretty cruel if you’re George Bush (funny otherwise); doing the sound-track to an early, black-and-white, silent, Russian film is quite bizarre; posing with a small dog on the sleeve of “Introspective” could be called ‘cute’; and appearing naked in front of the Queen is quite naughty. That last bit is on their album ‘Very’ and not some Jarvis Cocker-eque act of rebellion.

Anyway, back to the gig. I would never have remembered the set list unaided, but I did find a very helpful website that did the job for me. I created an iTunes iMix ((Unfortunately the list isn’t entirely complete. iTunes didn’t have all the tracks in the same format I have, even though I decided against including the original Bobby Orlando version of “West End Girls”!)) if you want to recreate the gig in your own living room:

Photography

Double Standards?

Microsoft have been getting lots of press recently because of their new Zune music player. One of its major features is its wireless interface that lets you share music; even most of the advertising talks about the social implications ((It amuses me that with all the money that Microsoft has, the best their marketing people can come up with to describe this is “squirting.” At best that sounds comic, at worst somewhat rude. What were they thinking?)). But let’s have a quick look at that functionality in more detail.

If I decide that I want to expend an hour of battery life in order to see other Zunes in the area, what can I do? Most famously you can transfer songs. As I’m sure you’ve heard by now, there are limits. When I receive a song, I can play it three times or hang onto it for three days ((Even this, it turns out, is a simplification. At least one of the major record labels has forbidden wireless sharing of their music entirely. Unfortunately they don’t tell you about this until you actually try to transfer the file yourself. Is this legal? Is it not a case of adding restrictions after the sale?)) but after that all I get is an electronic post-it note reminding me about it. Clearly a lot of thought and a lot of engineering effort has gone into these limitations.

What about movies? Sorry, bad news here. You can’t transmit them at all.

Zune can also store pictures. What limits have Microsoft provided to protect photographers?

The answer, it turns out, is none. You can transfer as many pictures as you like to as many people as you like. Once transferred, they are visible indefinitely and can even be copied to further Zunes.

Er, hello? Double standards?

I imagine that the main argument is that most people don’t have a bunch of professional photographs on their computers but do have commercial music. How far can we get with that line of thinking? Well, in fact, there is a certain logic in that. Most people don’t write their own music, even with relatively simple to use applications like Garageband, but they do have large collections of holiday snaps.

However the argument starts to fall down when you start to think about movies. Do people have only commercial movies and nothing personal? I don’t think so. While it is possible to rip a DVD and put it on your iPod it’s legally dubious, non-trivial (because of the CSS scrambling scheme) and time consuming (transcoding to MP4 takes a long time even on quick machines). Even if you use P2P software to download an illegal copy it’s likely to be is DivX format which cannot be used directly by the Zune, so that time-consuming transcoding step returns. My guess is that people are, in fact, much more likely to have home movies. Of course, if you made the movie you’ll also own the copyright for and are quite likely to want to send to friends and family. Certainly my wedding video has done the rounds and my attempts on a Segway has been distributed fairly widely.

That being the case, then why are the limitations on distributing movies even more severe than that for music? There’s a definite mismatch between desired usage patterns and the programmed restrictions.

So where have the restrictions come from and why do they vary so widely? Maybe a clue can be found in the fact that Microsoft are paying the RIAA $1 for each Zune sold.

Why would Microsoft do that? Clearly, in the US, the RIAA, for music, and the MPAA, for movies, hold a lot of sway. But for photographers? I’m not aware of a single organisation that has the same level of influence.

I’m sure Reuters and PA protect the copyright of their own images, but who protects everyone else? Perhaps this is because while movies and music require large teams, photography is more often a solo activity but certainly it has no relation to the value of the medium.

Ultimately I think this is another strike against the draconian DRM measures that are currently being applied to movies and music. I have nothing against digital rights management in the abstract, but implementations that restrict or remove rights that you already have by law just make the music labels and movie distributors look like money-grabbing opportunists.