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Quick Webcomics Reviews - NPC: Non-Player Character

filed under , 21 May 2014, 12:05 by

[written 20 May 2014, for folks who find this at a later date]

Webcomics Roulette! Today’s target (chosen at random from a very long list) is…

NPC: Non-Player Character
URL: www.npccomic.com
Writer & Artist: Mary Varn

From the Site: [about page: http://www.npccomic.com/about/]
“Welcome to Non-Player Character! NPC is a comic that revolves around the gaming lives of Lisa and her two blue cats Chloe and Bink. It’s part situational comedy, part geeky goodness, and a lot of bizarre feline fantasy.”

About the Author:
“I’m a freelance animator in New York City. I started NPC (Non-Player Character) in Feb 2009 when I realized I was playing too much World of Warcraft and wanted a creative outlet between freelance jobs. I don’t make a living off the comic, but it supplements my freelance income and makes me very happy.” + more on the site

Tags: gamers, geeks/nerds/fans, anthropomorphic cats, slice-of-life, New York
Format: 3-4 panel comic, “classic newspaper style”, color
Vintage: first comic dated 19 February 2009
Current? – Yes. Most recent comic was 21 May (this morning).
Update Frequency: Monday-Wednesday-Friday
RSS Feed? – Yes. (There’s also a Tumblr.)
Archives: looks like …695 strips
Alt-text? – Yes! don’t forget to mouseover for an extra punchline.
Monetized? – Free-to-you, but yes – supported by ads, web store for merch, and Patreon

“Where Do I Start?”somewhere in the middle

Quick Take:

For me, NPC is more of a grinner, able to generate smiles and the occasional chuckle, and a lot of the appeal operates more on a “I know that sitch” level [see: Subway Reads, Stuff You May Have Forgotten to Clean, 3 Signs You Spend Too Much Time on Twitter] than on gags, pranks, and wild goings on — talking cats notwithstanding. If I were more of a gamer (or a cat owner) then I’m sure more of the jokes would hit home for me.

Running through the archives was a pleasant way to spend an evening (hey, I got the Hearthstone jokes!) and the balance of gamer-life with cat shenanigans keeps either from getting too stale. Overall, I give it a thumbs-up; it’s worth your time to try.

Nuts&Bolts: Archives, blog, clearly labeled nav buttons — running ComicPress for WordPress so you’ve seen this layout before.
Bells&Whistles: ‘random comic’ button, chapter-based archives, strip-by-strip comment system, strip transcipts, active social media presence
What’s that URL again?www.npccomic.com

* I won’t upload art, images, or screencaps unless I see explicit permission given (Creative Commons or similar) so you’ll have to make do with links for many of the quick reviews – but I trust you remember what the mouse button is for. —M.



Links and Thoughts 12: 21 May 2014

filed under , 21 May 2014, 08:05 by

Net Neutrality in the US: Now What?

Good Morning.
…yes, I know, that YouTube video isn’t music. I hope you watched it anyway. If you really miss the music, keep reading to the end. [I’d previous written about Net Neutrality from my point of view on Saturday, 17 May.]

Books: Smashwords, OverDrive Ink Distribution Deal : Publisher’s Weekly

Confusingly, OverDrive’s books are available on Kindle but authors who use the Kindle Direct Publishing [Select] program can’t get their books into OverDrive, which means no KDP-exclusive books through local libraries’ ebook lending programs. [I think that’s correct?] If I were a self-published author, I’d take a second look at Smashwords. (still, it’s hard to say no to some of KDP Select’s incentives)

The Jokes Write Themselves:
“Facebook spends $2 Billion to push Oculus Rift to new frontiers… your local Chuck E. Cheese!”
“Chuck E. Cheese now has two ways to induce nausea!”
“Details leak on Oculus’s planned billion person VR MMO: endless ball pits, skee-ball, claw machines, and 50 trillion virtual paper tickets — which can of course be swapped for virtual crap at the virtual exchange counter.”
“Virtual animatronic band described by survivors as ‘harrowing’, ‘even more soulless than the original’”
Oculus Rift is coming to Chuck E. Cheese : The Verge

Tech:
“The Tablet that Can Replace Your Laptop” — or basically, a laptop. The future lies somewhere in the intersection between the Surface Pro and a Macbook Air, I think:
Microsoft Announces Surface Pro 3 : Tested
see also: Hands-on: Using Microsoft’s Surface Pro 3 as a laptop—on my lap : Ars Technica

##

Diary entry for 21 May:

Yesterday I wrote a pretty long piece (well, long because it has a lot of block quotes from wikipedia and at least a dozen embeds. However, there was a fair amount of opinion in it (key quote: “I come to bury Disco, not to praise it.”) and some nice side-by-side comparisons and analysis on the border between Funk and Disco – I think I’ll let that one stand as this morning’s diary. —M.

Archie Bell and The Drells – I Can’t Stop Dancing (1968)

##

And following on that — Today’s Book Recommendation is Turn the Beat Around: The Secret History of Disco.
from the publisher:
“Disco may be the most universally derided musical form to come about in the past forty years. Yet, like its pop cultural peers punk and hip hop, it was born of a period of profound social and economic upheaval. In Turn the Beat Around, critic and journalist Peter Shapiro traces the history of disco music and culture. From the outset, disco was essentially a shotgun marriage between a newly out and proud gay sexuality and the first generation of post-civil rights African Americans, all to the serenade of the recently developed synthesizer. Shapiro maps out these converging influences, as well as disco’s cultural antecedents in Europe, looks at the history of DJing, explores the mainstream disco craze at it’s apex, and details the long shadow cast by disco’s performers and devotees on today’s musical landscape.”

#and now I am *done* with disco for a while.

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Gamble & Huff, MFSB, and Philadelphia International Records

filed under , 20 May 2014, 12:44 by

The wikipedia entry for Sigma Sound Studios is pretty damn short; here it is in full:

[wikipedia]

Sigma Sound Studios is an American music recording studio in Philadelphia, Pennsylvania founded by recording engineer Joseph Tarsia in 1968.

Located at 212 N. 12th Street in Philadelphia, it was the second studio in the country to offer 24-track recording and the first in the country to use console automation. Tarsia was formerly chief engineer at Philadelphia’s Cameo-Parkway Studios.

On April 15, 1972, singer-songwriter and pianist Billy Joel played an hour long concert at Sigma Studios. The recording of “Captain Jack” from this event received extensive radio play in the Philadelphia area, long before Joel became nationally known.

In the 1970s, Sigma Sound was strongly associated with Philadelphia soul and the sound of Gamble and Huff’s Philadelphia International Records (a precursor to disco music), which combined a driving rhythm section with a full orchestral sound of strings and brass.

David Bowie recorded much of his album Young Americans in August 1974 at Sigma Sound.

Madonna used the studio to record her 1983 album debut (Madonna).

Tarsia opened a branch of Sigma Sound Studios in New York City which operated from the late 1970s through the mid-1980s. He sold Sigma Sound Studios in 2003.

The majority of the tapes recorded in Sigma Sound Studio’s history are part of The Drexel University Audio Archive.

The studio recently underwent a massive renovation and now has five state-of-the-art production studios, a live production sound stage, and media production center.


[/wikipedia]

Not much to chew on for a blog post [though: Young Americans? Oh yeah, we can do this]. Digging a little deeper into Wikipedia reveals quite a bit more; let’s start with the house band, MFSB:

MFSB (according to the ‘clean’ interpretation, Mother Father Sister Brother) was a pool of more than thirty studio musicians based at Philadelphia’s famed Sigma Sound Studios. They worked closely with the production team of Gamble and Huff and producer/arranger Thom Bell, and backed up such groups as Harold Melvin & the Blue Notes, the O’Jays, the Stylistics, the Spinners, Wilson Pickett, and Billy Paul. In 1972, MFSB began recording as a named act for the Philadelphia International label. ‘TSOP (The Sound of Philadelphia)’ also known as the Soul Train theme was their first and most successful single. Released in March 1974, it peaked at number one on the US Billboard pop and R&B charts.” — wikipedia

MFSB featuring The Three Degrees – TSOP (The Sound Of Philadelphia) [Original 12” Version] (1974)

Wikipedia breaks it down for us – Sigma was the studio, but the brains in the studio were Kenneth Gamble and Leon Huff, Gamble and Huff’s output was released on Philadelphia International Records, and Philadelphia Soul gets an entry, too.

“Philadelphia (or Philly) soul, sometimes called the Philadelphia Sound or Sweet Philly, is a style of soul music characterized by funk influences and lush instrumental arrangements, often featuring sweeping strings and piercing horns. The subtle sound of a vibraphone can often be heard in the background of Philly soul songs. The genre laid the groundwork for disco and what are now considered quiet storm and smooth jazz by fusing the R&B rhythm sections of the 1960s with the pop vocal tradition, and featuring a slightly more pronounced jazz influence in its melodic structures and arrangements.” — wikipedia

MFSB – Universal Love (Full LP) 1975

When the bass and rhythm guitar players are playing syncopated counters and the drummer drops into four-on-the-floor with eighths on the high hat (what some onomatopoetically call the “boom-tiss, boom-tiss”) while the string section swells in the arrangements behind them, you can hear Disco being born.

I come to bury Disco, not to praise it. And I’ll remind you — if you have a strong aversion, you don’t have to click ‘play’ on any of the YouTube embeds below. The important thing to remember is that at first Disco was a place where folks went to dance, not a genre of music — and the music of the disco was just the popular dance music of the day: soul, latin, and funk of the late 60s and early 70s (the rock music of that era rocks but you can’t always dance to it); later came the string arrangements, a 1977 Movie, the clichéd mainstream ‘disco sound’, and then… the inevitable backlash.

Before Saturday Night Fever, disco—like the soul music it was born from—was popular enough, but was popular outside the mainstream.

“The term is derived from discothèque (French for ‘library of phonograph records’, but subsequently used as proper name for nightclubs in Paris). Its initial audiences were club-goers from the African American, gay, Italian American, Latino, and psychedelic communities in New York City and Philadelphia during the late 1960s and early 1970s. Disco also was a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period.” — wikipedia

Saturday Night Fever was based on a New York magazine article; tellingly, the title of that article was “Tribal Rites of the New Saturday Night” [the internet is great, you can read the whole piece for yourself: from 7 June 1976]. In 1976, at least to “[the] man in a tweed suit, a journalist from Manhattan,” Disco culture was still something foreign.

Disco grew up in the outer boroughs of New York, and other old eastern cities, and the sound is almost direct Motown — I say ‘almost’. Motown was ‘Hitsville’ through the 1960s, and while they still had many great artists on their roster, in 1969 Motown (the company) had moved from Detroit to Los Angeles — and perenial runner-up Stax, out of Memphis, would take over as the heart and soul of Soul music. (Now, that’s just my opinion, but I’ll fight you on it.) The transformation of Stax in 1968 was born out of desperation and that’s worthy of a post of its own (it’s coming) — but the disco sound isn’t the Southern Soul of Memphis, and Isaac Hayes (while hugely influential) was a bit too funky for what would later become a mainstream pop music genre.

Disco was born in Philadelphia. We even know which song it was, written by Gamble and Huff, recorded at Sigma Sound by the O’Jays (backed by MFSB), and released by Philadelphia International.

The O’Jays – Love Train

Compare “Love Train” to Issac Hayes, from the same year (1972):

Here’s Hayes in 1973; we can hear the strings & horns in the arrangement, but that rhythm section has got a whole ‘nother groove going on:

And now compare that Hayes to Barry White’s Love Unlimited Orchestra (once again, this 1973)

From the waka-guitar to the 40 piece string section, this is the lush and lavish overlay that apparently the rest of the music industry was waiting for. (If you’re interested, here’s The Love Orchestra again—with White on the podium, conducting—in a 1974 TV performance. Now, some of it may be the difference between stereo and 70s-era-TV-audio, but it sounds like White decided to ask the drummer for a bit more oomph in ’74 than he did in ’73)

The third [canonical?] disco single to hit the top of Billboard’s Hot 100 was “TSOP (The Sound Of Philadelphia)”, which is the first embed near the top of this post. From March of 1973 (when the O’Jays were Billboard’s number one) to April of 1974 (when TSOP hit) and on to July of 1975…

[aside: the 70s really were the last time the flute was a rock/pop instrument.]
[also: A lot of these early tracks were instrumentals. I think the 70s were also the last time an instrumental topped the pop charts. That says a lot about the state of music today, if you ask me]

Quite a few soulful artists were releasing disco music, but by 1975 disco had already lost its soul.
That was a long diversion — let’s get back to Philly Soul.

Soul Survivors – Expressway to Your Heart (1968)

Interview: The Soul Survivors & Philly

Archie Bell and The Drells – I Can’t Stop Dancing (1968)

The Delfonics – La-La Means I Love You (1968)

The Stylistics – You Are Everything (1971)

David Bowie – Young Americans (1975)

David Bowie – Fascination (also ’75, from the Young Americans album)

Bowie himself described Young Americans as ‘plastic soul’ – the appropration was self-aware, but respectful (in my opinion).

“Fascination” is Bowie making the most of the session musicians at Sigma Sound; it’s Bowie like you haven’t heard before. Luther Vandross is credited as cowriter on the track because it borrows heavily from the song “Funky Music”

“The Salsoul Orchestra consisted of most of the original members of Philadelphia International’s MFSB, who had moved on to Salsoul as the result of a disagreement with producers Kenny Gamble and Leon Huff over finances. Other members began performing as The Ritchie Family orchestra, and as John Davis and the Monster Orchestra. On later MFSB recordings, Gamble & Huff uses a new rhythm section which caused them to have a slightly different sound.” — wikipedia

The Salsoul Orchestra – Chicago Bus Stop (1975)

Here’s a Phildelphia International release from after the MFSB/Salsoul split. (I don’t know if I can hear the ‘difference’ on this track, but I’m sure Wikipedia is an infallible source.)

Harold Melvin & The Blue Notes – Don’t Leave Me This Way (1977)

Rock & Roll Hall of Fame, Induction of Kenny Gamble and Leon Huff in 2008



Links and Thoughts 11: 20 May 2014

filed under , 20 May 2014, 08:05 by

The music embed today is mildly NSFW (both for content, and because you might emulate the actor’s actions). Good Morning.

Avicii vs Nicky Romero – I Could Be The One

Each post is dated (because everything needs a best-before freshness date) but there is a reason I decided to number these as well; I knew in advance that I’d want or need a day off every now and then, even from the blog.

…and also: instead of rounding up three-to-five links just to make a quota, sometimes it’s better to skip a day. Not everything deserves a link, and we all know there are plenty of places to find content on the internet. On to the links:

Dum Dum Dada Dum Dum Dada Dum Dum:
The Ultimate Chart Tracking What Happens To Each Game Of Thrones House : Fishfinger via io9

Daaaa Daaa dadada Daaaaa Da dadada Daaaaa Da, dadada dum:
The Clone Wars Is Essential Star Wars. I Was A Fool To Ignore Them. : Ain’t It Cool News

You won’t recognize the theme so I won’t do it a third time: [go listen; James Horner, good stuff]
Looking Back at Krull : Den of Geek

Did they factor in user hand size as a variable?:
Phablet Use Distinct From Smartphones, Tablets : Re|Code

Gaming: A new genre/descriptor is needed, perhaps. Video Board Games? Civ IV designer takes RTS in a new direction with Offworld Trading Company : Ars Technica

Business:
A lot of digital ink is being lavished on the AT&T/DirecTV and YouTube/Twitch [potential] deals — each in their own right is bigger than Apple buying Beats Audio. …Since I feel coverage out there is more than sufficient, I won’t bother to link to any one specific article or analysis. (I trust that if you’re interested, you’ve seen what I’ve seen on those fronts.) What landed yesterday morning are rumors that Twitter was looking into buying SoundCloud — and rumors are the most we can say about the deal at this point.

Tech companies get snatched up all the time — in fact, for many start-ups, getting bought out by one of the Bigs is the goal and raison d’être. When a venture capitalist asks a slouchtrepreneur about his (or her, but usually his) ‘exit strategy’, the VC wants to hear Facebook-Instagram-Billion-Dollar-Style, not about an eventual IPO and a decade or two of hard work.

And while the likes of Apple and Google can afford tens of millions (pocket change) just to buy the talent and tank the product, Amazon is much more focused in their acquisitions, Facebook will buy any small competitor that gets popular, and Microsoft is… clueless? is clueless too strong a word?

I have a longer draft in the works on how the Big 5 [Amazon, Apple, Facebook, Google, and Microsoft] are squaring off for a battle royale —
Yes, I know when we talk about Tech, we are referring to a whole lot more than just those five — but could you honestly include Sony and Yahoo in such a list? How about eBay? How about *Samsung*? It’s not just the pieces on the board, but how you play them — and which boards you play on, because the game is multi-dimensional.

And that’s all before we start talking about China.

So it’s a big… thing. I’ve been working on that draft for a while.

##

And building on the business news — Today’s Book Recommendation is The Age of the Platform by Phil Simon. It was published in October of 2011 (so it missed even the Facebook/Instagram deal two years ago, by about 6 months) but for those of you still working with a 90s-era-MBA mindset—or worse—Simon’s book is going to be worth your time. (Plus, unlike a lot of dot-com-bubble, new-economy ‘tech’ books, this one is more about What Has Worked, and not about speculation or utopian-internet dreams)

##

Diary entry for 20 May:
I follow the world of business as an outside observer (as much as any consumer can be ‘outside’ of something that affects our daily lives) and occasionally, some of my ideas on business are going to be too “out there” and Blue Sky for anyone to take seriously.

Sometimes, though, the outside perspective is exactly what you need, especially if you’re looking at present events and don’t have the benefit of historical hindsight. What might be called a Tocquevillien Observer, if I’m allowed to coin that term. Sure, you need to be able to read a P&L statement and know the difference between net & gross — and corporate annual reports can contain a wealth of information, if you can stay awake long enough to read through one. But increasingly, the real story of business is not in the financials, but in the communities: user bases, subscribers, audience — not what the application does but more importantly, who is using it. Every company is a media company, every company is a tech company, and what we need are not MBAs but degrees in psychology, sociology — and English, damn it, because in the end—no matter what you’re selling—if you can’t get the customer to buy into your story you have nothing. The favorite brands are the ones that tell a story, and help us tell a story about ourselves. That right there is engagement, and customer investment, and repeat business — for email, photos, phones, and sharing as much as for cars, booze, bread, music, books, deodorant, or household appliances.

Don’t believe me? Ask someone about their Vitamix.

So maybe what we need in business reporting are more multidisciplinarians and outsiders, and fewer publications like Forbes, Business Insider, Seeking Alpha, and Motley Fool. Some tech-oriented websites seem to be getting it right, but few enough support longform journalism (I see a lot of summaries, and link posts). Maybe Rolling Stone could add a couple more pages for business coverage.

And now, if you’ll excuse me, I think I’ll chip away a little more on that draft. —M.

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Links and Thoughts 10: 17 May 2014

filed under , 17 May 2014, 08:05 by

Tyrone Brunson – The Smurf

Good Morning.

Urban Studies:
We need small houses : BetterCities.net

I can see how some people in some neighborhoods might be opposed; “not in character” with the other houses, “lowering” perceived property values (I say perceived, because there are never numbers in these arguments) — but what we need is affordable housing for first-time home buyers and more often than not: the houses just don’t exist anymore. Who in the hell would buy a 400 square foot home? is the question — I would, for one. It would be all I need, and while I love some of the conveniences of apartment living, I would also like the opportunity to pay a mortgage rather than rent, and 400 square feet would suit me just fine, thank you.

When the time comes, I’ll likely have to build my own

see also: Tokyo Takes New York: Astounding Housing Facts : Next City

Mobile:
“The amazing cheap-o handset is the new iPhone.”
Don’t Diss Cheap Smartphones. They’re About to Change Everything : Wired Gadget Lab

“One of the key questions for both the carriers and, in particular, for device makers is whether the shift away from subsidies and two-year contracts will shorten or lengthen the average time between consumer upgrades.”
No-Subsidy Mobile Phone Plans Gaining Steam, With T-Mobile Leading the Way

“Unlike the high-end phone market where things progress at a steady clip, the low-end phone market has made bigger leaps with each generation as smartphones continue to overtake the global phone market.”
The evolution of the $150 cellphone

When we talk about Advances in Computing, usually the biggest revolution we ignore is The Computer In Your Pocket. Combined with ‘fast-enough’ data and web access, yes, your phone (or it’s close kin, the 7” tablet) is often a replacement for your computer, doing the things you used to have to sit down at a desk to accomplish (we don’t ignore but often forget that the laptop largely replaced the desktop 6 years ago). Phones are only getting more capable, so much so that tablets (the new hotness) are built using the phone operating systems. And while the $699 iPad may be the benchmark some like to use, I think the $150 phones are more exciting, and hold more promise.

If we get to the point where new phone apps can be programmed using nothing more than the phones themselves — at that point we’ve really democratized the platform. We’re not there yet, but getting smart phones into more and more hands is the first step.

Tech: …speaking of democratizing the platform -
“Everybody and their mothers (especially FCC commissioner Mignon Clyburn’s mother, apparently) are up in arms about this net neutrality thing. Why now? Net neutrality has been an idea, and occasionally a set of somewhat spotty regulations, kicking around the Internet for years, and the public hasn’t ever much seemed to care.
“Even a week ago, if you’d ask people for their thoughts on ‘common carrier’ regulation or ‘Title II’ or ‘paid prioritization,’ you’ll probably get a lot of blank stares. … But American citizens are sure paying attention now. I mean, who really goes to a FCC open meeting to shout down the commissioners?”
Why Net Neutrality Became A Thing For The Internet Generation

##

Today’s Book Recommendation is The Master Switch by Tim Wu. From the publisher -
“It is easy to forget that every development in the history of the American information industry—from the telephone to radio to film—once existed in an open and chaotic marketplace inhabited by entrepreneurs and utopians, just as the Internet does today. Each of these, however, grew to be dominated by a monopolist or cartel. In this pathbreaking book, Tim Wu asks: will the Internet follow the same fate? Could the Web—the entire flow of American information—come to be ruled by a corporate leviathan in possession of ‘the master switch’?”

##

Diary entry for 17 May:

Tim Wu’s book came out in November of 2010 — which means he was writing it well before that. The issues now coming to a head are 4 to 5 (or even 40) years old, so in a way — it’s nothing new.

There are three reasons we’re talking about Net Neutrality now, and why it’s become a “big deal”

1st: This hits people at home. You (generally) don’t give a rats ass about internet so long as it is “fast enough“ for whatever it is you do, but when Netflix slows down from what you’re used to all of a sudden it becomes an issue. If Netflix had always sucked on your connection, that’d be one thing, but if things were good but now they aren’t, you notice. You go online, you type things like “Is netflix down” or “why is netflix so slow” into a search box, and it pulls up news articles and forum posts. You educate yourself; and if there is one thing corporations hate, it is educated consumers.

2nd: “We already paid for that”:
When we pay for a burger, we get a burger. When we pay for cable, we get cable TV. When we pay for a gym membership, we get to use the gym — many of us don’t actually use the gym fully, we don’t go every day, we go but for only a half hour, or we stop going… but we have the membership.

Internet companies have been selling us gym memberships: advertising the Whole Glorious Facility that We Can Use Whenever and However We Want — but also pretty sure that no one is going to actually use all of it. But then came peer-to-peer sharing, streaming online video, massively-multiplayer online games, skype and other easy-to-use two-way video chat, and the current catalyst: Netflix.

It’s not that Netflix was invented online video, but Netflix brought all their subscribers with them — and the current Netflix crowd loved movies and TV (that’s kind of the whole point of paying for the original Netflix DVD rentals).

Add up Netflix, Skype, World of Warcraft, bittorrent, 10 million or so xboxes and playstations, and families moving from the single desktop plugged into the internet, to the desktop plus laptops, tablets, and phones all on home wifi — and suddenly everybody was using the Internet Gym and using it All The Time. But that should also be fine, because that’s what we were promised, and that’s what we paid for. We’ve been overcharged for internet for a decade now.

That’s not how your cable company sees it. Obscene profit is (from their perspective) their god-given right, and customers using their internet connections to connect to the internet is (again, from their perspective) a betrayal, and an ‘abuse’ of the system.

And instead of upgrading the pipes, they squat on existing infrastructure, suppress any potential competition, start spending money on lobbyists and campaign contributions, and prepare to squeeze their customers for more money.

The Thing About the Internet is it’s not a water pipe, or electrical transmission wire, or a coaxial cable — once some fiber is laid down, the internet literally moves at the speed of light, and the ‘guts’ of the system aren’t pumps and transformers — the ‘guts’ of the internet are in fact just more computers.

I don’t know if you’ve been paying attention, but computing power gets both more powerful and cheaper every year. Unlike every other utility, basic internet infrastructure gets cheaper to expand and operate as time goes on. Sure, the user base is growing too, and the data throughput each one of us requires is also growing, but any industry run by professionals deals with growth as a very ordinary part of doing business — and in nearly any other business, growth would be a *fantastic* problem to have. This leads us to —

3rd: The ISPs are just getting greedy.

The ISPs see a rise in demand, and their response (instead of building more infrastructure to meet demand and customer expectations) is to artificially throttle the internet ‘supply’ and force prices even higher. Customers are already being charged at both ends — I pay for internet at home, and I also pay a webhosting company that serves you this website. You pay for internet, and Netflix also pays a carrier to access the internet from their side. [this is also very, very different from how electricity and water are delivered, which is why I hate those analogies]

Now, in addition to charging at both ends, Comcast and Verizon want to introduce a 3rd charge in the middle. In effect, their customers are a new commodity, and the ISPs want to charge companies to access them — to get to You. Taking it to extremes, the ISPs would also subdivide the internet you can access and charge you extra to access chunks of it — want Netflix? That’s five bucks. Or, allow me to sell you this bundle — all the internet ‘channels’ you know and love, and all it costs is an easy $80 monthly surcharge…

That’s how the cable companies work; we know that. We hate the cable companies. Cable sees internet as a great deal — currently, to get cable TV, your provider has to pay the networks for content, which they sell to you at a markup. In this brave new world that is forming, the ISP would charge Netflix for content, which they then get to sell to you at a markup. It’s not about getting paid twice, by customers at both ends of the internet pipes, but getting paid four times — charging for access to the pipes, then charging Web companies for access to customers, and also charging customers more for using too much data (by whatever definitions of ‘too much’ your ISP cares to define).

To solve this problem and return the internet to What We We’re Promised It Would Be, we need regulation to keep the ISPs from getting too greedy, and real competition among providers to give customers choices and let the market work to drive down prices. Baring real competition, we need even more regulation (past just Net Neutrality) because at that point we’re permitting de facto monopolies that need to be treated like other utility companies.

And it all comes down to Netflix. Before your Netflix started to suck, not enough people cared, and Internet Service would have slowly transformed into just-another-cable-TV bill without anyone noticing. Now, the issue has come to a head, and I only hope the notoriously-short-attention-span internet will stick with this issue until we get to see real change.

I’m not holding my breath, though. —M.

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Links and Thoughts 9: 16 May 2014

filed under , 16 May 2014, 11:33 by

The Knife – Heartbeats

Good Morning.

What?:
https://www.google.com/search?q=giant+amazon+locker

A giant, mysterious Amazon locker has appeared right in the middle of downtown San Francisco : The Verge
Amazon leaves mysterious giant orange locker in downtown SF : c|net
Mysterious giant Amazon locker appears in San Francisco for Friday event : GeekWire

My guess would be that it’s an Amazon Delivery Van (minivan) inside; amazon will announce their own, branded delivery service. (alongside an extended roll out of their locker program?) but Business Insider says it’s just another promotion with Amazon and Nissan.

Web:
“Pinterest has a vision of solving discovery and helping everyone find things they’ll love. This new investment gives us additional resources to realize our vision.”
Pinterest Raises A $200 Million Warchest To Do Battle With Google : ReadWrite

Indeed, the only way to beat Google is not to copy them (they do what they do too well) but to revolutionize and leave Google copying you (…a pursuit where Google has an abysmal track record). I don’t know if Pinterest has what it takes, though — maybe in a niche, like online shopping, but then you run into Amazon… we’ll just have to see.

Science:
“Wildfires are sweeping through drought-addled Southern California, a massive ice sheet that holds 10 feet worth of sea level rise is resigned to thaw in Antarctica, and top military officials are warning that rising temperatures are leading to global conflict. What else do you need? If climate change were a disease, it’d be thick in the bloodstream, and the symptoms of our carbon-stuffed atmosphere are being felt by Americans every day.
“Just last week, the White House unveiled a deeply researched scientific work that outlined the many ways that global warming is already impacting the nation. This week, we lived them.”
The Week Climate Changed Everything : Motherboard

##

Riffing off that first link, and Amazon’s mystery box, Today’s Book Recommendation is The Everything Store: Jeff Bezos and the Age of Amazon and just to show I have a sense of irony: here’s the link to the Amazon Kindle edition. There Is No Escaping Amazon.

##

Diary entry for 16 May:

I could write yet another diatribe on Amazon, but I feel I’m done with that. I’ve already written too much, perhaps, as a quick google search handily illustrates. It’s not that I’m opposed to writing more, or that my opinion of Amazon has substantially changed, but I just can’t keep fighting it. Personally, the stakes have changed as well.

If I had to pick one article to take the place of today’s essay, it’d be the most recent, The Book Utility Co.

That’s it for today; I think I’ll start working on tomorrow’s. —M.

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Links and Thoughts 8: 15 May 2014

filed under , 15 May 2014, 14:21 by

REO Speedwagon – Roll With The Changes

Good Morning. (yes, I know what time it is)

Comics: What Would Make Manga More Appealing to Comics Fans? + 24 Manga for New Readers : MangaComicsManga

“How manga is shelved in bookstores and comics shops can definitely make discovery of new titles difficult for readers who want to get into manga. Having all manga titles shelved alphabetically by title and not by genre is kind of like going to a record store and finding all the jazz, rock, electronic dance music and classical records organized alphabetically by title. Yo Yo Ma, next to Yo La Tengo, next to Yngwie Malmsteen. I know that’s how things are, but it’s not helping new readers get introduced to manga, that’s for sure.”

…once you’re a fan, though, having everything mixed together enables serendipitous discover of new books easier.

Movies:
“But is that what we really want? When I was interviewed back in 2009 for The People vs George Lucas, I said that what I really wanted Lucas to do was take all that money and social capital and infrastructure and build a new universe with new characters and tell us a new story. Not because I’m sure it would be awesome, but because I want something new.”
No, Michael Bay Has Not Destroyed Your Childhood

‘Destroy’ is such a strong word. I think it would be more accurate to say Michael Bay has carved nostalgia-laden properties into chops, steaks, and roasts and is selling them back to us retail.

Media:
“At the annual City University Journalism School dinner, on Monday, Dean Baquet, the managing editor of the New York Times, was seated with Arthur Sulzberger, Jr., the paper’s publisher. At the time, I did not give a moment’s thought to why Jill Abramson, the paper’s executive editor, was not at their table. Then, at 2:36 P.M. on Wednesday, an announcement from the Times hit my e-mail, saying that Baquet would replace Abramson, less than three years after she was appointed the first woman in the top job. Baquet will be the first African-American to lead the Times.”
Why Jill Abramson Was Fired : The New Yorker

It came down to issues of fairness, and pay equity, and respect, I think — you can read all about it at the link.

Writing: Agreed. Want to Write Great Science Fiction? Read Classic Literature : io9

Design: Tip #1 should have been: don’t do these tall, scroll-scroll-scroll web infographics. Just Don’t. The information would have been better presented as a text outline, and the execution of the post neatly contradicts the intended message – Infographic: Tips For Designing Effective Visual Communication : Design Taxi

##

Building on that first link, let’s go back and look at manga —Though perhaps doomed to be out-of-date even in the year it was published, Today’s Book Recommendation is Manga: The Complete Guide by Jason Thompson — it dates to 2007, so we’re missing anything from that year on — but like yesterday’s recommendation, the value of the Manga Guide as a historic reference is incalculable.

##

Diary entry for 15 May:
Obviously I got a late start this morning, and while I am operating on something-of-a-buffer, I still prefer the links to be timely (so I’m working—at most—three days ahead) and even with that: The section of each “links and thoughts” installment that gets finished last is the ‘thought’ part.

It is not impossible to keep a daily diary, or even to think of something to write, but I can’t guarantee deep thoughts, annotated with images or video and with helpful links scattered throughout. I just can’t. I promise that links will always be presented with appropriate snark commentary, as merited, but the end of each post — be it confessional, lecture, revelation, insight, or total crap — can’t always be 12 paragraphs and won’t always follow a topic to conclusion. That’s nice and all, but I’m stretching things pretty far (and relying on your patience) already by doing this without proper editorial oversight, and may have to fall back on old conventions (“here’s a blog post mentioning that the other blog post is late”). Not every day is going to have an exciting, thoughtful, heartfelt essay attached.

Indeed, some diary entries will have to be short, if only because I want to get the product out the door before 2:30 in the afternoon. —M.

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The Nashville A-Team, and the "Nashville Sound"

filed under , 14 May 2014, 10:38 by

“The Nashville A-Team was a nickname given to a group of session musicians in Nashville, Tennessee, who earned wide acclaim in the 1950s, 1960s and early 1970s. They backed dozens of popular singers, including Elvis Presley, Eddy Arnold, Patsy Cline, Jim Reeves, Bob Dylan and others. The Nashville A-Team’s members typically had backgrounds in country music but were highly versatile. Examples of their jazz inclinations can be found in the Nashville All-Stars album with Chet Atkins titled After the Riot at Newport, the Hank Garland LP entitled Velvet Guitar, Tupper Saussy’s Said I to Shostakovitch, the groundbreaking LP Gary Burton And Friends Near, Friends Far, and Chester and Lester by Les Paul and Chet Atkins. In 2007, The Nashville A-Team were inducted into the Musicians Hall of Fame and Museum in Nashville, TN.” — wikipedia

“The Nashville sound was pioneered by staff at Decca Records, RCA Records and Columbia Records in Nashville, Tennessee, including manager Steve Sholes, record producers Chet Atkins, Owen Bradley, and Bob Ferguson, and recording engineer Bill Porter. They invented the form by replacing elements of the popular honky tonk style (fiddles, steel guitar, nasal lead vocals) with ‘smooth’ elements from 1950s pop music (string sections, background vocals, crooning lead vocals), and using “slick” production, and pop music structures. The producers relied on a small group of studio musicians known as the Nashville A-Team, whose quick adaptability and creative input made them vital to the hit-making process. The Anita Kerr Quartet was the main vocal backing group in the early 1960s. In 1960, Time magazine reported that Nashville had ‘nosed out Hollywood as the nation’s second biggest (after New York) record-producing center.’
“Country historian Rich Kienzle says that ‘Gone’, a Ferlin Husky hit recorded in November 1956, ‘may well have pointed the way to the Nashville sound.’ Writer Colin Escott proclaims Jim Reeves’ ‘Four Walls’, recorded February 1957, to be the ‘first Nashville sound record’, and Chet Atkins, the RCA-based producer and guitarist most often credited with being the sound’s primary artistic brainchild, pointed to his production of Don Gibson’s ‘Oh Lonesome Me’ late that same year” — wikipedia

Ferlin Husky – Gone

Jim Reeves – Four Walls

Don Gibson – Oh Lonesome Me

It’s interesting to compare the description of The Nashville Sound in that wikipedia entry (slick production, pop elements) with the “new country” music of the 1990s. Except for a touch of steel guitar, it sounds a whole lot like the pop music of the day.

Skeeter Davis – The End Of The World

Southern Rock (a past topic), Outlaw Country, and the ‘Back to Basics’ country-western music of the 1980’s were all responses to the too-smooth, too-slick Nashville Sound. I’d have to agree, actually: if you’re going to play country, you might as well get down and play country.

That said… there were several upshots of the Nashville Sound: First, it made money. ‘Nashville’ bridged a couple of decades when country was under assault from rock and roll — rock was also a homegrown southern product, with crossover — and then the British imports, and the new national TV networks based out of New York and L.A. gaining over local radio. Without the mainstream appeal of the Nashville sound, would there have been a country music establishment for the 1970s artists to rebel against? Or would country be just another footnote in the Smithsonian Folkways project?

Ray Charles – Take These Chains From My Heart

[Ray was recording in New York, but both of his “Country and Western Albums” are obviously influenced by The Nashville Sound]

##

Let’s get back to the A-Team:

“Building on the rustic style he experimented with on John Wesley Harding, Nashville Skyline displayed a complete immersion into country music. Along with the more basic lyrical themes, simple songwriting structures, and charming domestic feel, it introduced audiences to a radically new singing voice from Dylan—a soft, affected country croon.” — wikipedia

Nashville Skyline was recorded in Nashville, using session players — including Charlie Daniels on guitar. OK, so this is more of an excuse to post some Dylan, but I’ll take it.

“After the Riot at Newport is an album by The Nashville All-Stars, which was recorded live after the cancellation of their appearance at the 1960 Newport Jazz Festival. This group of Nashville session players played a mixture of pop and jazz standards. The all-star lineup featured guitar legends Hank Garland and Chet Atkins, saxophonist Boots Randolph, pianist/violinist Brenton Banks, pianist Floyd Cramer, bassist Bob Moore, drummer Buddy Harman, and vibes prodigy Gary Burton, who was only 17 years old at the time.
“Even though the players were playing country music day-in and day-out in Nashville sessions, they had a deep love of jazz and played often at the Carousel Club on Printer’s Alley in Nashville. When their much-anticipated festival performance was canceled due to an unruly crowd, the group documented their performance anyway, recording on the back porch of a mansion RCA had rented during the festival.” —wikipedia

“Chester & Lester is a collaborative album by guitarists Chet Atkins and Les Paul released in 1976. It was recorded in the mid-1970s when Chet was in his fifties and Les in his sixties. Chet coaxed Les out of his decade-long retirement for this recording. The liner notes state there is very little overdubbing and the majority of the album was live in the studio.” — wikipedia

Chet Atkins & Les Paul recorded a follow-up to Chester & Lester in 1978, aptly titled Guitar Monsters



Links and Thoughts 7: 14 May 2014

filed under , 14 May 2014, 08:05 by

Bronski Beat – Smalltown Boy

Good Morning.

No: the daily music embed usually has nothing to do with the rest of the post — but thanks for asking.

Media: Physical media, not the other type –
“The week-long course aimed to provide students with an introduction to identification, handling and preservation of a range of audiovisual formats, with students receiving hands-on experience with motion picture film, magnetic media, audio technologies and video. In the pictures above, students are seen exploring the insides of VHS, U-matic casettes, magnetic tape and more. The workshop included training on basic conservation treatments, such as splicing and tear repair of motion picture film, preservation winding of films, and cleaning of material.”
http://ebookporn.tumblr.com/post/85568173337/studentconservators-blog-ever-considered-the

Food: The surprisingly complex story (drug cartels! climate change! citrus viruses!) behind $1 limes -
The Soaring Price of Limes Means Trouble : AlterNet

Music: “The vocals are Jackson, but the production is not, and it shows.”
Michael Jackson’s New Album And Why We Can’t Say Goodbye To Dead Musicians

Jackson comes with… baggage. But the songs were good, dammit. I don’t think we give MJ enough credit as an arranger and producer — sure, he was self-taught and relied on recording himself singing a cappella riffs, horns, and drum parts into an audio tape recorder — but if you have to teach yourself pop music composition, there are worse ways to do it than hanging around Motown studios in the 70s.

I still don’t understand the persistent, rabid (and worldwide) fan base he inspires, but I guess I wasn’t part of the target audience in the 80s.

##

Today’s Book Recommendation is The Rolling Stone Album Guide — from 1992. Do not be fooled into thinking the 2004 update made the guide any better — and besides, you can get the 1992 edition for like $3 (plus shipping). A book (physical book) like this isn’t about the latest music anyway. When you can listen to free samples online of just about any track off any album anyway, one hardly needs an independent arbiter of taste to tell you what’s good. These days we also have wikipedia, of course, and any artist’s discography is no more than 5 seconds and a google search away. The reason to pick up the Album Guide then, is its importance as a historical document — for $3 — and a handy music education that you can leave on top of the toilet tank and flip through at your leisure for the next decade.

That, and you (pop and rock fan) need this thing for the Jazz and Blues album reviews.

##

Diary entry for 14 May:
Music is an important part of my life. Though obviously, we would all say that.

(If you don’t, you are a sad, sad person and I pity the life you must be suffering through.)

According to reputable sources [soundcheck, nytimes, cracked] your musical tastes are formed in your early teens and for many of us, they get stuck there — that’s not to say you won’t discover new bands later in life, but the new bands will often sound like the old ones.

I’m not sure where my own taste comes from, to tell you the truth, because I like stuff that came out the year I was born, and years and decades before that. It also doesn’t explain how new music revolutions get started — If we key in on the music when we were, say, 14, then where did your&my favorite artists catch the bug when they were 14? Shouldn’t that sound and my favs’ sound, well, sound the same? There’s also the phenomenon of the garage band: kids grabbing instruments and practicing with friends, you know, in high school. They start out copying their favorite artists (and thus many a bad cover band is born) but the acts that make it—a few years later in their early 20s—are obviously bringing something else to the table, not just the style they imprinted on at 14.

It’s a really interesting idea — and may explain the periodic revivals of things like funk, ska, and punk, or the pendulum swing between pared-back guitar-bass-drums ‘rock’ and lusher arrangements with strings and choirs and shit. One trend inevitably leads to a reaction by the other, and each time we bring back the “old” sound, critics inevitably gush about how this is the “real” sound.

Me? Eh. I like it all — but if you can add a horn line and a slap bass to it, you’ll make me happier.

My eclectic tastes can be traced back to elementary and middle school music education programs: I was in the band. 14 is when I started playing in Jazz Band, in fact, after playing instruments for 7 years at that point, and sax for 4. So while my peers were listening Bon Jovi, Huey Lewis, Whitney Houston, and yes, Michael Jackson — as well as watching MTV, which for you kids out there, was a music-thing back in the 80s kind of like YouTube, unrelated to whatever currently calls itself ‘MTV’ — *I* was getting some grounding in the jazz music and standards of the 30s, 40s, and 50s on top of all that pop, plus my dad’s vinyl collection (folk from the 70s, mostly; not that I would play ‘em but he would, on weekends) — and ice that whole cake with the emerging radio format “classic rock”, which was also a new thing once:

“Classic rock is a radio format which developed from the album-oriented rock (AOR) format in the early 1980s. In the United States, the classic rock format features music ranging generally from the late 1960s to the late 1980s, primarily focusing on commercially-successful hard rock, blues rock, and arena rock popularized in the 1970s.” — wikipedia

Pile on even more: I grew up in the American south and so had to listen to some country music (unless I never left the house) — plus exposure to this one cover band, out of New York and even more 60s music that ended up on a lot of 80s movie soundtracks and…

well, yeah: I heard it all. I ended up liking a lot of music, and a lot of different types of music, even some that would seem mutually incompatible.

I didn’t discover funk until college. Junior year, I think, by way of James Brown and his backing band, the JBs, and I found my way to James Brown through the samples used by Hip Hop — when you read an article citing James Brown as the most sampled artist, you think to yourself, “hm, I need to listen to some early James Brown”.

So from 1930s Jazz through ‘standards’ and early rock and roll and both the rock and folk sides of the 60s and into everything-but-disco in the 70s (but disco too, because I lived through the 70s) and on to the “new” music of the late 80s — which included the 2nd wave of heavy metal and the ‘golden age’ of hip hop (MTV and most of the media were still calling it ‘rap’ back then, as I recall) — and right up until Nirvana (which is a bright dividing line in music to me, at least, from ‘what was’ to ‘what is’, maybe because I was 17 or so at the time) I was exceptionally well versed in music, including weird stuff my friends had never heard of. My favorite band was Morphine. I collected choral music, with a decided preference for settings of the requiem mass. I played pop music in the stands at GT football games, and weirder stuff in music classes. I legitimately like Rush and own all their studio albums (I’m not as particular about collecting the live albums, though).

I think the only reason I didn’t become a music critic (aside from my love of Rush, which in most people’s eyes automatically disqualifies me) is because I can find it hard to say anything *bad* about music – there’s almost always something good to listen to, even if it’s only the ‘hit single’ off the album . And if it’s bad, truly bad, why would I want to listen to it to begin with?

[Morphine – “You speak my language” & “Honey white”]

To top it all off, folks tell me I have a “radio voice”. Maybe that’s my calling: not that we need radio DJs anymore — even back in the 80s when I was listening to ‘classic rock’ the role of the DJ was being replaced by market-tested corporate playlists. These days, your “local” radio is supplied via satellite from Clear Channel corporate out of NORAD or somewhere before being rebroadcast — and the only place you still listen to radio, maybe, is in your car. The rest of the time you have an iPod or your phone or the internet, streaming music…

…or you trawl YouTube for hours each week looking for great songs to share on social media – A DJ for an audience of maybe a dozen (who knows how many people actually click to open the links) and a radio show that plays out in slow motion, 4 minutes at a time, every day. Good Morning. —M.

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Yes, all the links are broken.

On June 1, 2015 (after 6 years and 11 months) I needed to relaunch/restart this blog, or at least rekindle my interest in maintaining and updating it.

Rather than delete and discard the whole thing, I instead moved the blog -- database, cms, files, archives, and all -- to this subdomain. When you encounter broken links (and you will encounter broken links) just change the URL in the address bar from www.rocketbomber.com to archive.rocketbomber.com.

I know this is inconvenient, and for that I apologise. In addition to breaking tens of thousands of links, this also adversely affects the blog visibility on search engines -- but that, I'm willing to live with. Between the Wayback Machine at Archive.org and my own half-hearted preservation efforts (which you are currently reading) I feel nothing has been lost, though you may have to dig a bit harder for it.

As always, thank you for reading. Writing version 1.0 of Rocket Bomber was a blast. For those that would like to follow me on the 2.0 - I'll see you back on the main site.

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