Category Archive: Music

Masolit

March 18th, 2008

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My wife is tinydiva. She is a musician. Her band is called Masolit. They are awesome. Seriously. And you should see them play their world debut performance live this Saturday in Williamsburg, Brooklyn.

Timing:
Saturday, March 22, 2008
7:00 pm: The Creationists
8:00 pm: Masolit

Location:
MTAA
60 North 6th Street, 2nd floor
Williamsburg, Brooklyn, NYC
(L train to Bedford Avenue, 3 Blocks west on North 6th, just shy of Kent St.)

Visit the Masolit web site or myspace page to get a taste of the rocking that will ensue this Saturday night.

This FREE performance is part of the Over the Opening series of art events sponsored by the artists known as MTAA.

The Peculiar 20th Century

March 2nd, 2008

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Fish Magic, 1925, Paul Klee

It is said that a fish, even a really smart one, cannot really grasp the meaning of the concept “wet” because it is the only condition they know. There is no “dry” to compare it to.

Humans, too, have a tendency to imagine that the way things are today is the way they’ve always been, or the way things will be from now on. It’s hard to imagine that perhaps we are merely living in a transitional period where our worldview is under a temporary spell, soon to revert to the way things have always been.

It has been observed, for example, that representational art — paintings and sculptures intended to mirror what we see with our eyes — has, for most of human history, been the exception not the rule. Optical representationalism has only been the dominant art form for a few centuries, and only in a few limited places: in Greece and Rome in ancient times, and more recently in Europe from about 1500 to 1900. Outside of those periods and places, most of our art has been highly-stylized or completely abstract, from cave paintings to hieroglyphics, from Islamic mosaics to Kandinsky’s paintings.

Viewing modern abstract art as a kind of degeneration from representational art, as many still do, presumes that representation is somehow the “normal” way of doing things. But history shows that this is simply not true. Representational art was and still is a kind of fashion or style, a way of thinking about artmaking that utterly infatuated mankind for a long while, but which eventually receded into the general pool of possible artistic expressions.

The 20th Century Fishbowl

Looking back on the 20th century and the new forms of media and culture that it produced, I’ve noticed an interesting phenomenon: Many of the fascinating social and cultural changes transforming the media right now, in the early years of the 21st century, are little more than reversions back to the ways things used to be before the 20th century. When we talk about “revolutions” in technology and media and how they impact our culture, we should remember that a revolution is a 360-degree trajectory, bringing you back where you started.

The 1900’s saw the emergence of a dozen new forms of media and communication, from mass-market publishing to television to online social networks. Each new media’s birth was followed by decades of adaptation to that media, both social (how new media changes our day to day lives) and economic (how these media have been “monetized”). And as each media reaches maturity and settles down, it’s surprising how many of the social and economic changes turned out to be less earth-shaking than we may have thought. In many cases, we’ve come full circle.

Adopt, then Adapt

The 20th century was a period of continuous infatuation with new technologies, particularly in the media, that felt so powerful that we sometimes thought that these technologies were fundamentally transforming, or even doing irreparable damage to, our culture and our world.

And the evidence for the latter is certainly compelling: Families don’t talk at dinner tables anymore, and instead gather around the TV to watch hours of game shows. We spend hours each day driving in cars by ourselves, polluting the atmosphere. Kids glued to mobile phones in schoolrooms. Reality TV. Internet porn. Britney Spears. Have technology and media really made our lives better?

I actually think we’re not doing so bad. Many of the 20th century’s most infamous technology-enabled cultural degradations may, in fact, merely be temporary effects which inevitably trend back to “normalcy”. In the early 20th century, for example, we invented the automobile and drove around with reckless abandon. But then, after countless accidents and horrific smog, we eventually licensed drivers and regulated the vehicles and roadways. Still later, we crashed our cars reading SMS messages on the freeway, but then we made driving while text messaging illegal. We adopted, then adapted. I hate to characterize this in dialectic terms, but much of it has a distinctive thesis/antithesis/sythesis feel to it.

Some examples of 20th-century phenomena whose transformation has, I think, been exaggerated:

  • Reading: Much has been said about how “nobody reads anymore”. Steve Jobs recetnly scoffed at the Amazon Kindle, saying “Forty percent of the people in the U.S. read one book or less last year. The whole conception is flawed at the top because people don’t read anymore”. Despite the numbers, which I don’t doubt, I’ve always been suspicious of the claim that we are less literate than we’ve been historically or than we should be. How much people were reading, say, in 1500 or 500 BC. Or even in 1850 or 1900, before mass-market paperback books and magazines were invented. Ursula LeGuin wrote a fantastic deconstruction of this accusation in February’s Harpers magazine, in a piece called “Staying awake: Notes on the alleged decline of reading” (print only –come on, Harpers!). Her gist is that most people never really read all that much anyway, and in that light people are actually reading quite a bit right now. I’ll also add that the supposed high-point of human literacy, which I gather to be the late 1800s and early 1900s, was also the point at which new information technologies exploded on the scene: telephone, phonograph, radio. If people are reading less but they are instead learning things via the spoken word in an electronic media, is that so bad? Were the books and periodicals of the fin-de-siecle any better than the electronic forms that replaced them?
  • News: People complain about the increasing partisanship and corporate-bias of the news media. Most of us take for granted the idea that a news organization must be “impartial” or non-partisan. But when was this idea born? I’m not a news historian, but I’d guess that this emerged sometime around the middle of the 20th Century, in particular with the large American corporate news organizations who wanted to avoid favoritism and partisanship in order to maintain a consistent flow of advertising dollars. Before that, however, newspapers were completely dominated either by overt political interests or by their governments. Outside of the USA, too, this is still largely the case. But with the recent emergence in the US of deeply partisan mainstream news media (e.g., Fox news) and the global phenomenon of blogging and citizen/advocacy journalism, we are perhaps witnessing not the emergence of something new or unique, but rather the end of a strange and rather short (50 years?) period in the history of news and information.
  • Music: I wrote about this in my last post, which is what inspired this one. Music was once something you could only enjoy as a live experience, in the presence of performing musicians. The 20th century brought us recorded music, which could be bought and sold. This gave everyone the idea that music itself could be bought and sold. With the emergence of digital file sharing, this model is being broken down again, leaving us in a place very similar to where we started, with music being un-ownable, but the experience of music enjoyment being entirely sellable.
  • Food: Okay, this isn’t media, but it is definitely technology: From the 1920’s to the 1990’s, the American diet was infatuated with technologically-processed food. Michael Pollen calls this “nutritionism”, a dietary theory that values the chemical composition of food products over the integral food-ness of them, where a loaf of white bread with all the nutrients bleached out of it and then re-introduced through chemical “enrichment” is somehow better than eating a loaf of whole grain bread. The same adopt-then-adapt pattern is here: Humans become so enamored with food technologies — canning, preservatives, refrigeration, and nutritionism — that our diet turns away, for the first time in a million years, from real food. After a few generations of this, and witnessing the resulting horrific health effects, we eventually began to turn away from these foods. Supermarkets now have enormous fresh fruit and vegetable sections in them, incuding organic foods. But when I was a kid in the 1970’s, a trip to the supermarket was like going to a bomb shelter — canned, processed, and frozen foods were pretty much all you could get, because that’s what people wanted. The more the food was abstracted from nature into powders, spreads, flakes, and puffs, the more people desired it — because they perceived it as futuristic, healthy, and convenient. Once we started to realize that the old ways actually had value, when the novelty of snow-white bread and powdered milk wore off, we began to ask for regular food again.

Once I started seeing things this way, I’ve noticed the pattern everywhere: A 20th-century phenomenon is presumed to be eternal, and then its decline is lamented as if it were the end of civilization itself. I learned that nobody plays bridge anymore — but I learned, also, that contract bridge wasn’t even invented in 1925, and had a run of massive popularity for only a few decades before falling into decline by the late 1960s.

Same as it Ever Was?

My whole idea here is admittedly an optimistic argument (and a slightly conservative one, I confess) in which humanity learns valuable lessons by looking toward our past, and where the most troubling social and cultural trends of the 20th century turn out to be merely side-effects of our slow adaptation to rapidly-emerging technologies.

But the opposite is certainly possible: Humanity could continue trending towards technology-enabled illiteracy, junk food-induced decrepitude, social isolation, and retarded media completely controlled by corporate conglomerates. We could quite easily end up with Idiocracy. I could be completely wrong.

Yes, changes occur. Humanity’s greatest social and technological inventions — the wheel, writing, democracy and human rights, the printing press and the Internet — surely have fundamentally transformed the human experience. Some have even speculated that these technologies have brought about physiological changes to our brains, enabling us to use our minds in ways that our ancient ancestors simply could not (see Julian Jaynes and The Origin of Consciousness in the Breakdown of the Bicameral Mind). This may be true (I am skeptical), but I think in the case of most of the 20th century’s most interesting transformations, despite the constant seemingly earth-shattering changes, we are what we are and we will tend to adapt the technology to us, not the other way around.

R.I.P.: Owning Music (1880-2008)

February 6th, 2008

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Last.fm’s announcement that they will be allowing their users to listen to full-length versions of millions of music tracks is one of the final nails in the coffin of the traditional recorded-music industry. Owning music is dead. The new business model for making money in the music industry is simple: Design a better music distribution system. Or, simply put, build a better user experience for music listening.

Which, interstingly, is how the enjoyment of music has always been throughout the centuries, with the singular exception of the century recently passed. Live musical concerts and performances have always been about more than the sounds in your ears: It’s also the experience of the venue, the culture or subculture of the audience, the smells and tastes. This also applies to live radio, including satellite and internet radio. Both live performance and live radio focus on putting value on (i.e., charging money for) the experience around the music — on the curation, the immediacy, the communal feeling of listening to the same music as dozens or even millions of other listeners — not on the ownership of the recording itself.

In fact, the ownership of recorded music will someday be seen as a weird historical anomaly, born during a decades-long spasm of corporate enthusiam about — and complete control over — the production and distribution of recorded music… a phenomenon in its death throes now that, finally, the ability to record, copy, and distribute music has trickled down into the hands of everyday people.

The era in which one could buy and sell recorded music lasted only about a century, from the early days of the phonograph in the late 1800s to the emergence in the 1990’s of illegal file sharing and now, in this decade, completely legal free distribution of recorded music. We are back where we started: paying for experiences, not for artifacts.

Today’s digital music scene is about experiences. iTunes, for example, is not so much a tool for organizing your music collection as it is a complete media experience platform: It’s the tool to listen to and organize your music, of course, but with the store integration, partnership with your portable player, accessibility to other users on your network, sharing with your TV and home stereo system, it’s become far more than a simple media player.

Last.fm takes it further: Are you listening to something you really like, and you want more? Well, right there on the page, the page that is playing the music, are a dozen different ways of exploring that music further: Talk to other fans, read about the band’s history, view recommendations based on your own listening habits, listen to artists that are intimately related to the band you’re hearing, find out about new music that came out just today.

Valuing Media

Kevin Kelly recently wrote a really insightful and thought-provoking piece about how the value of copied media can be measured:

When copies are super abundant, they become worthless.

When copies are super abundant, stuff which can’t be copied becomes scarce and valuable.

When copies are free, you need to sell things which can not be copied.

In the case of music, the “stuff which can’t be copied” is (among other things) live, performed music. Kelly’s piece explores a few other ways that stuff can be valuable without being copyable — it’s a great read, please check it out.

Last.fm actually hits several of Kelly’s values dead-on, including Accessibility (the ability to tune in from any browser and not be tied to your own hard drive), Patronage (the artist is getting paid by Last.fm, something that many listeners want to know is happening), and Personalization and Findability (Last.fm was literally founded on the idea of making new music findable through personalized recommendations).

Rhapsody was on the right track, but their catalog lacks the kind of Web 2.0 community-generated depth and recommendation tools to make listening to and discovering new music such a delightful experience. On Rhapsody, AFAIK, you are renting access to a database that allows basic browsing by artist, genre, etc. That’s it. It’s fundamentally still about paying for temporary ownership of music.

But as I said, it’s not about owning the music any more. It’s about providing easy and fluid access to the music, exposing you to new music you will like, immersing you in a music community, and making the listening experience as entertaining and interesting as possible. Ownership is no longer an issue. Today you pay for the experience of a product which, in the peer-to-peer era, you can always get in raw form for free or nearly free.

In the future competition in the music industry, such as it is, will consist of better and better ways of competing, essentially, with old-fashioned radio, nightclubs, and concert halls. Last.fm gets this.

The 1/2-inch Headphone Cord (iPhone Ready!)

December 9th, 2007

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I bought Peggy a new pair of studio monitor headphones for her birthday last week. So now we have an extra pair of my favorite headphones, the Sony MDR-V600. I decided to try an experiment I’ve always wanted to do: To separate a pair of headphones from its cord.

My practical objective was in part driven by the onset of winter’s cold: I wanted to figure out a way to use full sized over-the-ear headphones with my iPhone, without losing the ability to use the iPhone’s wonderful on-cord control doohickey (which allows you to pause, play, or skip tracks, as well as being a hands-free microphone and call controller).

So I opened up the headphones, cut the cord down to only a few inches, and soldered the shortened cord to the contacts inside the headphones themselves. I closed everything up, and the result can be seen above.

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Now, what about the iPhone’s clever controller cord?

Shure makes a nifty little doodad that does exactly this: it has all the functions of the iPhone doohickey, but instead of having any headphones of its own it allows you to plug your own headphones into the female socket on the end of it. Many users of the Shure cord complain about all the excess cordage that results from using this with a full set of headphones. But I think with these no-cord headphones I’ve managed to completely avoid that problem. I’ve just now ordered the Shures from the Apple Store, and I look forward to plugging these two things together and rocking out in the cold weather.

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This idea, in fact, has been bouncing around in my head for several years, long before the iPhone. I’ve long thought that headphones, especially high-end headphones, should come in two peices: (a) the part that goes on/over/in your ears, and (b) the cord. Headphone cords could then come in a variety of lengths, colors, and features. So you could choose a 10-foot long phone-like coiled cord for use as you dance around to your latest track in your home music studio, or you could choose a compact lil’ 2-foot cord for when you are keeping your iPod nano in your breast pocket.

In my original conception, the headphones would have no male plug on them at all. They would merely have a female socket, while the cords would be male-to-male. But since female-to-male headphone extension cords, like the Shure model, are a more common (and more useful) accessory, I opted for the female-to-male approach for the headphone cord.

Finally, I just realized that I can also simply plug an iPod shuffle directly into the headphones and go completely cordless, rocking out with a single dangling iPod earring.

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UPDATE: Well, the Shure cord arrived yesterday, and the whole setup works great. The cord is short — just long enough to reach my pants pocket. It is not an inch longer than it needs to be. The sound quality is fine, the industrial design is solid. Success!

Scrubbing the iPhone Scrubber

November 14th, 2007

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I thought it was a pretty bold design decision when Apple discarded the iPod’s signature feature, the scroll wheel, in the iPhone and iPod touch. But the new scrubber bar is almost useless, especially for long tracks like podcasts where it’s impossible to move the playhead any less than a few minutes per hop.

So I thought I’d just fix it, or at least show a little idea of how Apple might fix it.

For scrolling through menus and adjusting volume, the iPhone’s new UI methods are, IMHO, superior to the old iPod’s wheel. But the “jog dial” is still the ideal user interface for arbitrary positioning the playhead in audio and video tracks. It’s a hardware solution that has been in professional and consumer use for decades.

And the iPhone and iPod Touch are totally capable of doing it. Here’s how: When you touch the currently-playing album cover to reveal the scrubber interface, instead of only showing the playhead the screen shows the old iPod disc as well. You just roll your finger around the screen’s virtual scroll wheel. That’s it.

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For the time being, here’s a helpful tip for using the current UI: If you hold your finger down on the “skip to end” or “skip to beginning” buttons, the playhead will scroll quickly through the track.

The Manual: How to Have a Number One Hit the Easy Way

August 18th, 2007

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This book, “The Manual: How to Have a Number One Hit the Easy Way” (The cover actually drops the word “Hit”, making an lovely double entendre), changed my life. It was written by Bill Drummond and Jimmy Cauty (aka The Timelords, aka The KLF) back in 1988, hot on the heels of their doing precisely what the title says: producing a number one hit in the UK, a cheeky little song called Doctorin’ the Tardis.

Before I go any further, if you are the person I lent this book to years ago, please return it to me!

There, that’s out of the way. Now, as for the book, it’s a sweeping and cynical look at the recording industry, and on the surface it’s quite literally exactly what the title says: a step-by-step guide to writing, producing, recording, and releasing a hit song that will reach Number One on the UK’s Top of the Pops. But beneath all of that, the book is a no-nonsense analysis of the nature of creativity itself in a world where almost everything creative is also in some way commercial. “The Manual” came to me today after reading Liz Danzico’s own hand-wringing over being inspired by the work of others.

My favorite parts deal directly with this question, with the origins of originality and the ethics of allowing yourself to be steeped in influence and inspiration.

Every Number One song ever written is only made up from bits from other songs. There is no lost chord. No changes untried. No extra notes to the scale or hidden beats to the bar. There is no point in searching for originality. In the past, most writers of songs spent months in their lonely rooms strumming their guitars or bands in rehearsals have ground their way through endless riffs before arriving at the song that takes them to the very top. Of course, most of them would be mortally upset to be told that all they were doing was leaving it to chance before they stumbled across the tried and tested. They have to believe it is through this sojourn they arrive at the grail; the great and original song that the world will be unable to resist.

So why don’t all songs sound the same? Why are some artists great, write dozens of classics that move you to tears, say it like it’s never been said before, make you laugh, dance, blow your mind, fall in love, take to the streets and riot? Well, it’s because although the chords, notes, harmonies, beats and words have all been used before their own soul shines through; their personality demands attention. This doesn’t just come via the great vocalist or virtuoso instrumentalist. The Techno sound of Detroit, the most totally linear programmed music ever, lacking any human musicianship in its execution reeks of sweat, sex and desire. The creators of that music just press a few buttons and out comes - a million years of pain and lust.

I couldn’t agree more. Sure it sounds incredibly cynical, but please also note the deep sense of hope and optimism in the artist’s ability to produce original work despite the fact that we are all drowning in influences. We do not need to suffer (and suffer is the right word) from Harold Bloom’s Anxiety of Influence if we simply have faith in our own voices.
In fact, this anxiety about producing work free from the influence of other artists and styles actually suffocates creativity. “The Manual” goes on to say:

Creators of music who desperately search originality usually end up with music that has none because no room for their spirit has been left to get through. The complete history of the blues is based on one chord structure, hundreds of thousands of songs using the same three basic chords in the same pattern. Through this seemingly rigid formula has come some of the twentieth century’s greatest music.

I love this book (and I wish I had my copy back!). You should love it too. And since it’s no longer available in print, and since “KLF” stands for “Kopyright Liberation Front”, I have posted the full plaintext of the book below the jump for your reading enjoyment. Enjoy! MORE…

The Don’t Stop Believin’ Game / Bristles on the Long Tail

June 17th, 2007

tony_soprano_jukebox.jpgAt least Tony didn’t pick Heart’s “Magic Man”!

Almost every Friday near the end of the day, someone at Behavior will start playing loud music to help remind everyone to stop working soon — the musical equivalent of the whistle that tells Fred Flintstone that it’s quittin’ time.

This Friday, my partner Jeff blasted “Don’t Stop Believin’” across the office. This song has been in my head all week, a textbook case of earworm. And apparently I’m not the only one: The song is currently the iTunes Music Store’s #17 most downloaded track. Of course, this is because the song was the soundtrack to the final moments of last week’s Sopranos series finale.

As we listened to the song around the office, it quickly turned into a kind of game: Every time Steve Perry got through belting out the first two words of the chorus Don’t stop…, everyone in the office anxiously expected Jeff to mute the song right on cue: Dont stop…

Listen to the song right now. I’ll bet you’re tempted to hit that pause button somewhere around 3:39. Go ahead. Try it.

I wonder how many thousands of people played this game this week, cutting off the audio on cue? How long will it take for us to be able to hear the song at all without thinking of Tony, Carmela, AJ, and Meadow in the diner? And how long will it take for us to be able to hear the chorus without imagining it suddenly ending in silence?

Dont Stop Believin’ points to an emerging trend of the Long Tail, where songs and other “products” lingering in the skinny part of the tail can, in literally an instant, find themselves resurrected after a single memorable and compelling intersection with something farther up on the thicker end of the tail. The Long Tail is not a one-way operation — anything in the tail’s long reach can quickly move up close to the root given new exposure and raised consciousness. In the case of this Journey masterpiece, perhaps the sudden rise will prove fleeting, but maybe the sudden injection of relevance and awareness will give the song a permanent boost. I think it has for me.

Interaction Design Style (My IA Summit 2007 Presentation)

April 1st, 2007

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It’s been a little less than a week since my IA Summit presentation. To my great surprise, it went really well. I mean really well. In the next day or so I will be posting a summary of my experiences preparing and discussing my topic, which was, in a word, style.

Many people came to me after my presentation asking me not only to post the slides themselves, but also to post the reading list since I did discuss a lot of books and sites that deeply influenced my thinking. So here’s all the stuff:

Slideshow

Reading List

These readings are in roughly the same pedagogical sequence that the concepts appeared in my presentation. Note that not all of these were actually cited in the talk, but I did have all of them either at hand or in mind as I wrote.

MORE…

C.R.E.E.P.

March 5th, 2007

I had the creepiest IM conversation recently, from an IM handle I have never seen before (handle has been changed to protect, um, whoever) :

(11:01:18) M****N: hi
(11:01:28) Christopher Fahey: who’s this?
(11:01:31) M****N: hi
(11:01:36) Christopher Fahey: who’s this?
(11:01:41) M****N: m****n
(11:01:47) Christopher Fahey: obviously
(11:01:53) M****N: ok
(11:02:00) M****N: i dont know u
(11:02:22) Christopher Fahey: you shouldn’t talk to strangers
(11:02:34) M****N: i no u shouldnt
(11:02:37) M****N: bye
(11:02:42) M****N: creep
(11:09:55) M****N logged out.

First of all, I’m the creep?!? I wasn’t the one chatting up a stranger.

Secondly, this is not the first time I’ve gotten unsolicited IMs from strangers. What is up with people who strike up chats with other random AIM users? Where on earth do they get our IM handles from, and what drives them in the first place to seek out strangers for chatting?

There are all kinds of ways of imagining the sordid stories behind these messages, and I don’t like any of them because they all lead to the same three basic possibilities:

  1. Some people type randomly into IM clients until they reach a real person
  2. There’s a spider/harvester program out there crawling the net for IM handles and publishing them somewhere so people like M****N can find strangers to talk to.
  3. Someone I know (a friend or a colleague?) gave my name to someone (who gave it to someone, etc.) who gave it to M***N.

None of these make me happy.

I’m going to start posting songs about my posts. Many of them will be from The Fall. Here’s The Fall’s song about creeps, entitled C.R.E.E.P.: