Music Sharing: Hypermodern Library?

Recently, I began reading Seth Godin’s blog (largely focused on marketing and business), and I happened to find it very interesting. I noticed that he had become a prodigious author, having printed over ten books, with a number of e-books as well. Apparently, Seth had not yet earned enough of my attention or trust, because I wasn’t willing to purchase any of his books yet. I was content reading his blog.

However, when I went to my public library last Tuesday, I chanced upon two of Seth’s books while browsing. Naturally, Seth had done enough to persuade me to loan out his books from the library. While Seth hadn’t yet made much money off of me yet (whatever advertisement earnings he gained from me visiting his website), he had successfully gotten me to read two of his books. I had progressed from spending seconds at a time reading blog posts, to spending a few hours of my attention reading books.

Since in both cases I was impressed with the ideas (the real product here) in the books, I’m much more compelled to now purchase books from Seth. I plan to grab a copy of Purple Cow and Meatball Sundae after my next paycheck. How did this happen?! How did make the quantum transition from “oh yeah, I’ve heard of Seth Godin” to “I’m going to buy something from Seth Godin?”

Business owners everywhere know that it’s hard for people to make that jump. It requires a lot of “trust energy” to overcome suspicion, and concern over wasting resources (what if I buy this book and it’s terrible!?). There are pizza places I drive by multiple times per week that I’ll probably never, ever go to because I’m unwilling to take that risk, to make that jump.

So how did it happen? I never had to make that jump of course. I made a number of significantly smaller, safer jumps until not only was I unafraid of making the final leap, I couldn’t wait for it to happen (I’m anxious for that check…). Look at the process that occurred:

1. I heard of Seth Godin somewhere online, I can’t remember where. (No investment here).


2. I heard of Seth enough times that I decided to look at his blog. (Investment: about 2 minutes reading the most recent blog post.)


3. Enjoying that blog post, I read the next few as they were published. (Investment: about 2 minutes a day. Note that I could quit at any time with no future costs, and very little invested.)


4. Got hooked on blog and spent a few hours reading archived posts. (Investment: a few hours, and they went fast because I was enjoying the content).


5. I saw the books at the library, and loaned them out. (Investment: no money, a few hours to read).


6. NOW, I'm ready to buy books. (Investment: money and more time)

I’d say that the library was a significant step, in that I was unwilling to purchase from Seth until I saw first hand exactly what I’d get by purchasing from Seth. By minimizing my investment in “testing the waters” (by removing the monetary aspect, I’d imagine the time aspect can not be removed), trust was built in the product, and I now will purchase more products.

This paradigm is very similar to my experience in walking through a record CD MP3 store. Very rarely do I purchase a “new” (from a group I don’t already own product from) album based on the jewel casing, genre, and song titles (full disclosure: I did do it once, on a dare with a friend. Both of the albums we got were awful). Slightly less rarely, I’ll buy a CD after listening to a few snippets on headsets in the store (or 30-second previews on iTunes). Unfortunately, I listen to these albums just about as rarely, and doubt I’ll be back for more.

Far more often, I’ll buy an album from a group only after hearing a majority or entirety of the album itself, or another album by the same artist. My methodology for accomplishing this has ranged significantly (in terms of legal…ness). Let’s look at how I started listening to some of my favorite bands (from most to least legitimate):

• Black Rebel Motorcycle Club: Got a nearly free (about 30 cents) CD from a sale from my school’s radio station. Subsequently bought older CD’s.


• Radiohead: Heard my friend play his Radiohead music all the time at college. By the time I got my own albums, I’d probably heard most of the discography.


• Paramore: Watched videos of a majority of their tracks on Youtube. Loved them, went out and purchased both albums and some merchandise (a rare move).


• Sonic Youth: Downloaded the entire discography because I heard they were good (university internet significantly decreased the investment here).

In all cases, I was impressed by the product enough that I’ve become an actual fan, one who’ll purchase the next effort of each group outright, without preview. The difference is what it took to get there.

The problem, as evidenced by my experience with Sonic Youth, is that downloadable music provides the opportunity to never stop “previewing.” When one can obtain all of an artist’s product with an investment so much smaller than purchasing albums, it’s hard not to say yes. There is nearly no drawback (except a possible RIAA suit) to downloading. The “biggest” I can come up with is that you don’t get the jewel case and physical CD. In today’s world, that might actually be a negative!

I’d say the public library is beneficial to author’s who produce multiple pieces of work. In my particular experience, I was able to read two of Seth Godin’s books, and am now compelled to purchase others (of course, the product must be good to reap the rewards). On the other hand, I was very impressed with the first twenty or so Sonic Youth albums, but don’t feel especially compelled to purchase the next.

Why? Libraries aren’t completely free! Sure, you get to read the books for free, but look at all the hidden negatives:

• Limited availability: I was only able to get two of Seth’s many books. Now, for the next three weeks, nobody will be able to get the two I checked out either. I would guess that the library doesn’t stock more than three total.


• Limited utility: I only get to keep the books for three weeks. I get no shelf value, and if I don’t have time to finish, tough cookies (barring my one renewal). Want to look up something inside later? No dice.


• Limited priority: Libraries don’t get books immediately, especially non-bestsellers. If I wanted to read Meatball Sundae, Seth’s newest book, I might have to wait years (or forever) for my library to stock it. This is a non-trivial investment of time.

Now, consider the music industry and how our ability to download affects those same principles:

• Availability: Once a CD goes on sale, for all but very obscure artists, it’s rarely difficult to find a downloadable free copy.


• Utility: In most cases, high-quality MP3 copies are available for download, which serve equally well as the album itself (minus jewel case).


• Priority: Downloads are often available hours after release, if not leaked before official release.

There’s no downside! This leaves musicians and the music industry a few options, not required by most authors fighting the treacherous library monster:

1. (The good one) Focus on cultivating ardent fans who will purchase product despite downloading.


2. Provide additional value only available to those who purchase physical albums, such as providing additional utility (through online content, posters, etc.). It would be difficult to add availability or priority.


3. Regulate downloading to provide a downside, either making only portions of songs or albums available (good luck), decreasing utility (Youtube does this by making it difficult to listen away from the computer), or enforcing priority (allowing downloads, only a certain period of time after release, again, good luck).


4. (The other good one) Use downloading to one’s advantage, remembering the decreased investment it requires. For example, in addition to recording an album, a band could record a few alternate versions, acoustic versions, or B-sides (even A-sides…) and release them for free via download before the album comes out to create “library-type” fan support.

Downloading isn’t quite the modern incarnation of the library, but with some effort and creativity, it doesn’t have to be the end of the musician (it won’t be).

Oh Yahoo...

Yahoo is funny. I shouldn't make fun, since I'm not the best marketer, or the best web designer (far from it), but it seems that a huge company like Yahoo should be able to get a few things right.

I recently signed up for Yahoo Answers (because of my love of spreading knowledge, or something).

Yahoo mistake #1: Annoying opt-out process for annoying spam emails. There were about 15 different "offers" which I had to uncheck to avoid. Oh, and only at the bottom of the list was there a check/uncheck all button. After I had unchecked them all manually.

Yahoo mistake #2: This one wasn't annoying, just funny: I'm pretty sure this isn't what they wanted their code to do (my cursor was over the avatar):

Just amusing little tidbits. Come on Yahoo.

The Matrix Reloaded Continues to Amaze Me

I am not shy about my appreciation for the Wachowski brothers' Matrix Trilogy, and although it often brings arguments from my friends, consequently having them call my taste into question, I'm equally open about my opinion that the second film,The Matrix Reloaded, is the best of the three.

Whilst reading The Brothers Karamazov today, I picked up another beautiful piece of detailed allusion slipped in by Larry and Andy. In BK, Dostoevsky uses the words (from the character Ivan, talking to brother Alyosha), "you go right, I'll go left." The translators note the reference to Genesis 13:9, in which the left is associated with the devil, while the right is associated with the moral good and the path of righteousness. This reminded me of the scene with Neo (a Jesus figure in the trilogy), and the Architecht (a created, or invented god figure).

In the dialogue, Neo and the Architecht both agree that the system upon which the Matrix functions is "fundamentally flawed," since it relies on human choice. Although the Architecht has managed to reduce the problem to a single choice (unlike in Christianity, where each person is left to make their own choice), the uncertainty, the lack of total control remains.

The choice which must be made is left to The One, and he/she must choose between two doors;

"the door to your right leads to the source and the salvation of Zion." (emphasis mine)

We see that the door on the right involves self-sacrifice (as entering the source is a euphemism for deletion, or death), but apparently saves the species. On the other hand...

"the door to your left leads back to the Matrix, to her and to the end of your species."

The left, or heretical door, eschews the world set up by this god (the Architecht), and thus incurs his wrath, with the death of Zion. The reasons to enter this door are all selfish (attempting to save oneself, and Neo's love) to the Architecht. However, Neo also enters the door because he doesn't accept that the Architecht is in as much control as he lets on (we see in the third film that this is indeed true). We even get the nice Hell imagery as flames follow Neo out of the door, before the building itself explodes.

It's impressive that more and more layers reveal themselves as I watch these films over and over, a testament to the exceptional attention to detail placed into what is clearly a life's work of the Wachowski brothers.

Album Review: Above the Cosmos by John Garrison (2007)

Introduction:

Former front man for the UK-based band Budapest, John Garrison (who is currently playing bass on tour with James Blunt) released his first solo album, Above the Cosmos, independently last year. The album has made rounds to some independent and college radio stations, but unfortunately hasn’t gotten the playtime it deserves. Garrison’s unique style brings an impressive musical and emotional depth to what could have been a very standard singer-songwriter debut. That said, neither the singing, nor the songwriting fail to impress in this deep, often dark, yet hopeful work.

Tracks:

1. When the Lights Go Out

The song begins with a beautiful line, quickly accompanied by a driving drum line which gives the song a lot of momentum (suspended cymbals are run at 16ths through a large portion of the piece, along with some nice crash cymbal use). Garrison’s voice comes through as dreamlike and hypnotic, with a surprising power and clarity. The run “so hear me out, hear me out, it evens out in the end all of the time” is particularly beautiful, yet haunting. Great lyrics, and an exciting, interesting instrumental backing make this track a wonderful opener. The finish, with heavy bass and drawn out lyric is a clincher.

2. Above the Cosmos

We get a reprise of the piano theme from the first track with some overlaying melodies, and a nice use of ambient music. Feels like it could have been part of the opener, and doesn’t have quite enough structure to really stand on its own. Not meant to be listened to alone, this instrumental piece is nice, but only in context. I wish it flowed out to the next track as well as the previous one flowed into this one.

3. Testimony

A significant change here, we have a much slower piano chord progression, with very simple drum sounds (straight quarters with some fills). The powerful lyrics and voicing may have had more impact with quieter instrumentation during the chorus. Bass work is consistently solid, and the use of additional sounds for again a haunting effect is good. A decent, though not quite original track.

4. Walking on Broadway

Begins with a neat guitar picking melody and heavy strings with a significant bass melody. Another brooding piece, the lyrics are simultaneously what you would and would not expect from the title. Themes of togetherness and support in numbers are coupled with a recognition of the individual loneliness found in each character “carrying on.” Garrison’s voice again navigates an impressive range and run control throughout, with a great ability to convey the emotions here.

5. Carousel

Garrison’s history with bass must be apparent to the listener now, as prominent bass lines and progressions continue to present themselves, in different guises; bass guitar, piano, strings. Interesting use of pauses in rhythm and another nice piano melody keep things consistently exciting instrumentally. The lyrics get a bit repetitive, but are still engaging. The modulation about two and a half minutes in is nice, with the return of the female intercom voice. Garrison’s alyrical wailing here brings a great climax to the piece, which may have lacked energy with its initially pedestrian structure.

6. Convincing Myself

More ambient noise and “everyday sound” recordings become a motif in the album, as Garrison continues to speak of internal conflicts and very relatable psychological/social struggles many of us face daily. A heavier guitar element is a nice change of pace, especially with the grittier sounds, not to mention a pretty nice hook. We also get a return of the more frenetic (if still mostly straight) drums of the opening track, lending a nice intensity to the piece. I wish more of the songs would end with a bang, as the last four have kind of trailed off (this one, particularly, didn’t need to have it’s momentum killed).

7. Bugs to the Light

A return to a slower, more expansive, soulsearching expression. It’s not really appropriate to call these songs ballads, given their more introspective, philosophizing bent. This one is particularly dark yet hopeful, painting the individual as extremely insignificant, while still reflecting a desire to act present in Garrison’s mind. An expansive sound at once represents our smallness and the great possibilities that remain.

8. Shadow

More of a ballad here, the song begins with an allusion to the green light from F. Scott Fitzgerald’s The Great Gatsby, a beautiful, musically simple song detailing an experience of love. The lyrics come in consistently impressive verse, befitting the simple structure to the piano line. A real treat again with Garrison’s lamenting, emotional voice.

9. Below the Radar

Back to the power here in earnest after two slower tracks. The most unusual set of lyrics, relating to a “water wheel world.” Continuous use of water related metaphors, really using all of the imagined architecture of a water-based city. Certainly requires a few listens to get your head around, but we end up with a really nice tour through Garrison’s mind here, though I’d be lying if I knew the correct interpretation, if there is one. The percussion and strings interlude around two and a half minutes is very well done, leading to a final reprise of the main melody and Garrison’s wailing over the final chorus.

10. Abdicate

A rare acoustic sound pairs well with a very high, almost reserved tone in the verse vocals here, then transitions into the standard piano and electric/electronic based chorus, with once again powerful Garrison lyrics and voicing. A reflection at some rivals ability to overtake him, and his seeming acceptance of this fact, until he becomes overcome with some emotional toil, possibly jealously, leading Garrison to reveal his more sinister (inner) thoughts. The most effective “soft end” on the album, quite haunting.

11. Never far From Me

Subtle clock sounds in the back are a nice touch as the only percussion in this piano and vocal cut. Garrison could have laid a tasteful drum track beginning in the second verse, but shows nice restraint, adding to the cleansing nature of this track. One of the most hopeful (yet very possibly sad depending on the context of the song) songs on the album.

12. Happy Hour

The final cut is a nice summation to the album, tying a number of lyrical themes together. Garrison emphasizes the need to act while the time remains (for time passes by us all), the need to act in the moment, and to appreciate the moment itself. Further, while the individual is often insignificant, there is great significance in pairs, in relationships and friendships (the speaking in the background, friendly conversation, is a great addition). An extended chorus fits well with Garrison’s voice, stretching long phrases with ease and impressive power. The first few minutes of standard songwriting segue into a soothing brass part intertwining with Garrison singing sans words again, yet still able to project emotion so well. The album then concludes with more happy, in the moment, talking, some musicians playing (in the fooling around on their instruments sense), people talking in a café, and a wonderful final reprisal of the opening piano theme, a real treat for those who’ve been listening the whole way through.

Conclusion:

Excluding a few nitpicking issues mention above, I found it to be an extraordinary album, certainly one of the best of 2007. I hope to have the opportunity to see Garrison live in the near future. The album is full of intricate, interesting melodies on a variety of instruments, a notable nod to the bass parts (a biased appreciation from this bass player), beautiful vocals, and engaging, emotional lyrics. I would have appreciated a more coherent musical flow, though as an idea the album is put together very well (in terms of song content). Overall, a strong recommendation.

Score:

Above the Cosmos - John Garrison
95/100

Book Review: Book I of The Brothers Karamazov

Today, I finished the first book in Fyodor Dostoevsky’s The Brothers Karamazov (I’m reading the Pevear and Volokhonsky translation), and have found it to be wonderful thus far.

The first book, which seems much like an extended background and setup for the more morally meaty events to come, is quite a fun, light read, but not without passages for contemplation. It is impressive how Dostoevsky can intertwine genuine humor and genuine religion or philosophy, often on the same page. A nice example of this is Chapter 2.4: A Lady of Little Faith. An affected girl, Lise, is teasing the novice Alyosha, as the elder Zozima is discussing real, almost grave, religious questions with the girls mother, mere feet (and mere lines) away.

A shining example of Dostoevsky’s work is the series of chapters concerning “The Confession of an Ardent Heart” (Chapters 3.3-3.5). Here we see a performance from brother Dmitri which passes through hysteria, humor, drama, playacting, and despair. Simultaneously jocular and disconcerting, Dmitri’s explanation of his intent to commit parricide (and possibly suicide) is both interesting as plot and as literary device. It seems apparent, at this point, that the impending murder of father Fyodor will be the center of the novel, but the veiled and almost dissembling fashion in which the topic is broached is quite interesting. The reader is left rather unsure as to whether this terrible event is going to happen.

Dostoevsky’s (as well as the translators’) verbiage is not slighted in the least. I recommend that you read along with a dictionary at hand. The reader will not go unrewarded, however, as the wordsmithing here is superb. Equally complex is the growing web of character relationships, but this is Russian literature, so what do you expect!?

My chief criticism thus far (and I expect it to continue), is one I’ve had with much literature (especially that written before 1950). While the characters themselves are quite interesting, and mostly believable, the feelings and emotional despair shown by numerous characters comes off as fantastic. The striking occasion in my mind is the scene between Katerina Ivanovna and Gruschenka in Chapter 3.10. The meticulous detail with which these people must analyze every thought, word, and gesture is boggling. It seems quite unrealistic how sensitive some characters seem, and the grandiose emotions which they purport to experience. For instance, Katerina is nearly brought to tears (p.147) because Dmitri is (paraphrasing) “unable to make her endure his sins as he makes God endure them.” This extraordinarily precise, defensive emotional state, which reeks of a dangerous lack of self-esteem, is present in a number of characters, and seems altogether impossible. This, of course, does not detract much from the interactions and development, and certainly not from the moral and philosophical discussion, but it does make the novel feel less genuine and relatable.

Thus far, I’ve been quite pleased with the book, and look forward to reading the three remaining books.

Morality and Lucidity

Listening to the song Rebellion (Lies), by the Arcade Fire today, I heard the lyric, "Come on baby in our dreams, we can live our misbehaviors." This got me thinking about a dream-related question that I've considered many times.

Can we be held morally responsible for what occurs while we dream?

As usual, the question digs deeper than I expect on first glance. Many moral systems hold that, as individuals, we are responsible for our actions in waking life. Such moral systems, by consistency, should also hold that we have free will, as it seems ridiculous to hold a person responsible for something which they have no control.

Within these same moral systems, the above question is really equivalent to the epistemological question; do we have free will whilst dreaming? If the answer is yes, then we must also transfer responsibility for actions to the dream world. If the answer is no, then we should not make such an extension. In the case of lucidity, it seems clear that if we have free will in waking life, we should have free will (perhaps even greater will, to seemingly bend the laws of nature) while dreaming lucidly. The case of non-lucid dreams is much more difficult to unravel.

This is not the end of discussion, however, as establishing moral responsibility does not imply the moral laws for the waking life and the dream life are the same. This is a question which must be answered by the supporters of individual moral systems, but I think it boils down to a few key points, some moral, some epistemological.

1. Is moral reprehensibility dependent upon the action, the result, or both? The U.S. courts distinguish between these cases often, such as with murder, attempted murder, reckless endangerment, etc.

2. Is thought of an action as reprehensible as performing an action? I'm reminded of a passage in the Bible which states (paraphrasing), if you think of lusting with your eyes, gouge out those eyes so that you may sin no more. This, of course, leads to an epistemological question:

3. Is thought of an action the same as dreaming of performing an action, or dreaming of thinking about the action? It would seem that answers here would depend upon lucidity and free will.

4. As suggested in the Arcade Fire song, can we use the dream world as a place to live out our misbehaviors, to prevent our waking selves from indulging in these sins? Would that be morally good, in that we are preventing ourselves from committing evil?

5. Are the consequences of actions occurring in the waking life as important as consequences of actions occurring in dreams? This is related to my thoughts last time, about how real/not real the dream world is.

Obviously, I don't know of any concrete answers to these questions, and there may not be any, but the certainly must be answered, at least personally, before we can answer my initial inquiry.

Dream Realities

I’ve always been very interested in dreams and dream phenomena, especially lucid dreaming. I think about dreaming and the dream concept a lot, but I’ve never had very good dream recall. Nor have I ever actually had a lucid dream. Thus, when I have a particularly vivid dream experience, it’s a big deal for me.

A few nights ago, I had a dream which registered a few interesting phenomena. To begin with, the dream included a person whom I distinctly recognized, but was not a person I actually knew. Instead, the person was a mixture, physically, of three separate people whom I did know. Further, while I recognized the person physically, the persona taken, the identity, was completely novel. The personality traits of any of the physical components were not present, nor were traits of anyone else I knew. I truly had never met the person before. It was fascinating to see the clear separation between body and mind (in my mind at least).

After I woke from the dream, which stuck unusually vividly in my mind, I got a drink of water, and then returned to bed (it was still quite early in the morning), and to my great surprise, the dream continued! I’m not sure if I was near to realizing that I was back in the dream, though I’ve heard that this method (restarting a dream) is a good way to induce lucid dreaming. The dream continued for a while longer before I woke again, again with surprising recall.

I’m not sure what exactly to call the person I met in my dream; is she a person, is she a character in a story, is she a figment of my imagination? Should I be referring to her with the present tense “is” or the past tense “was?” I became more attached to her than I had (presumably) with others I have dreamed about. I’m fairly confident it was the fact that I thought about the dream significantly in the day following which caused me to keep an actual memory of this person.

Over the next few nights, I attempted to dream of the girl again, but have (so far) been unable to do so (at least to my recollection, though I’m fairly confident I would remember it). My reasons for this are very different from each other. The first reason is selfish; if I see this person, I can be fairly certain that I’m dreaming, which may allow me to go lucid (having the persona act as a dreamsign of sorts). The second reason is for the girl’s sake. If I don’t continue to dream of her, will she cease to exist? This is what prompted my question about whether to refer to her with is or was.

To what extent is a dreamed person real? The question is not as easy as I thought it might be (my first instinct was to “not at all”). This may be reasonable for a stranger in a crowd of a dream, with no discernable features, but what about a family member. When I dream of my brother, I certainly regard him as real (this may account for my inability to determine I am dreaming). Just because a person is removed from our perception for a time does not mean they cease to exist, but nor does it imply that they continue to exist! When I talk to a friend, and they then go home, the human, the learner in me assumes that my friend has not just disappeared from the universe, but that I will see them again sometime, because that is what has happened thousands of times previously. Even if someone I knew were to die, presumably I could observer their remains at a later date and confirm that they were still extant. However, epistemologically, we can’t really say that. I can not reliably know that the person hasn’t disappeared completely. Now, if I can’t know that, I certainly can’t know that a person I’ve dreamed up has disappeared completely. Until I see them again, I simply don’t know. There is an interesting quantum nature to it all.

I’ll attempt to dream about this person again tonight. Of course, if I do run into her, I suppose I won’t know it’s the same person, will I? Nah, that’s overphilosophizing things…