adamyntium

Category: arts and entertainment

  • Pondering the emotional wallop of strings and music in general

    I’m a member of some of those all-you-can-eat, er, all-you-can-listen-to online music services and I’m constantly amazed at the fun and beautiful music I stumble across.  Once, on a goofy whim, I did a search for the string “Chicken” and found a shockingly cool selection of funk, pop, and jazz songs.  More recently, I did a search on “waltz” since I’ve grown increasingly enamored with this music and dance form.

    One of the beautiful songs that cropped up was First Impressions, featured on the album “Appalachia Waltz” with cellist virtuoso Yo-Yo Ma.  You can hear a sample by clicking on the player below and can enjoy other serene and joyful songs and learn more about the album on this Amazon.com page.

    This simply-structured and sensitively-performed song packed an emotional punch for me, just as so many other songs have done in the past.  And this got me to thinking:  What is it about the instrumentation and orchestration of songs that moves me… and moves so many millions of others?  I’m not even taking into account lyrics here, which involve a whole different (albeit related) issue.  Just the sounds.

    In particular, there’s something about strings, in my humble opinion.  From soap operas to scary slasher movies, they set a tone… causing us to relax, to reminisce, to regret, or—in the case of Halloween Part 13 and such—to feel uneasy, on edge.

    What causes this?  Is it purely associative? (e.g., that we’ve grown to mentally link the sound of strings with certain corresponding actions and emotions)  Or is it specifically acoustic… something in the timbre of stringed instruments that heightens and shapes our emotional involvement?

    *  *  *

    Sometimes I feel guilty for responding the way that I do.  Particularly, if you’ll forgive my bluntness, when I’m forced to watch chick flicks and hear the crescendoing strings, I want to reach for my metaphorical barf bag.  I am annoyed by the cliched themes, musically and otherwise, and know that I’m being subjected to a rather transparent effort to manipulate my emotions.

    But in many other circumstances—even when I suspect that the music is designed specifically and bluntly to shape my feelings—I cannot help but be moved.  Sarah McLachlan’s When She Loved Me from the “Toy Story 2” movie is a classic example.

    I don’t know how much of an effect the story setting and lyrics had (probably not insubstantial), but I literally teared up.  And yes, there are those strings again!

    *  *  *

    I wonder if any studies have been done about the emotional effects of specific musical instruments and arrangements… perhaps even by culture or other demographic.

    Your thoughts?

    UPDATE on January 14, 2006:
    The power of BLADAM is simply astounding.  Clearly in response to this entry featuring a music clip from Yo Yo Ma, the musician has now been named a U.N. Peace Ambassador!

    UPDATE on April 5, 2009:
    Embedded additional song (“When She Loved Me”) via Lala.  Updated other embedded song due to technical glitches; now serving “First Impressions” via Grooveshark.

    UPDATE on March 7, 2014:
    Re-embedded both songs via Grooveshark.

  • Well-reviewed movie "Waterborne" now available free on Google Video

    I haven’t had a chance to watch more than the first few minutes of this film, but Waterborne has been generally well-reviewed… and you can watch it for free either below or directly on Google’s site through January 15, 2006.

    Rather than spoil even part of the plot, I’ll instead invite you to begin watching it now without preconceptions, with a note that it’s a serious film focusing on characters rather than explosive action.

    Beyond this particular film, what fascinates and excites me about Google’s video offering—despite generally wide critical raspberries—is that it can serve as a fabulous equalizer.  The key problems with getting great independent and foreign films seen by larger audiences aren’t just associated with marketing and word of mouth, but rather distribution.  Just as Google AdWords (and, before it, GoTo.com) presented a revolutionary way for Mom’n’Pop outfits to reasonably compete with BigCos, Google Video will provide market access to low(er) budget films… in this case, literally FREE distribution.  And then when some random Joe in Manhattan gets genuinely excited about a particular quality (or just frickin’ hilarious :D) production, he can indirectly cause that film to gain enormous market awareness by simply posting about it on his LiveJournal and linking to the Google Video, causing a chain reaction (remember the numa numa video?:-) And hey, can anyone even find the original anymore?!  But I digress!)

    *  *  *

    But how will this actually make money for the film producers?

    – Pay-per-download
    For instance, while Waterborne is free to stream and watch online for a week, it’s then $4 to download.  With this film, thanks to the openness of its producers, purchasers will actually OWN their copy and have the practical and legal options of burning it to DVD, watching it on their iPod, etc.  This can be a win-win situation; whereas early adopters and those with more time than money can make sure to watch it for free, others will help fund the film by purchasing unfettered downloads.  Alas, not all content producers are so wise and thoughtful towards consumers; the bulk of groups charging for video on Google Video now are placing some DRM (Digital Rights Management) restrictions on their files, so they’ll self-destruct after 24 hours or be uncopyable to a portable video player, etc.  Hopefully they’ll eventually see the light, however.

    – Related sales
    T-shirts.  Actual DVDs in jewelboxes.  Sequels.  Toys or other similar merchandise.  Soundtracks via Napster or Magnatune or Amazon.com.

    – Long-term career growth
    Unknown artists can perhaps become bigger household names, garnering big studio money later on.

    Other ideas?  Your thoughts…?

    *  *  *

    Hat tip to Inside Google for reporting this and other interesting Google video tidbits.

  • Bay Area Theatre Review: "Into the Woods"

    Last night I had the pleasure of attending the final dress rehearsal for Palo Alto’s Theatre Works’ performance of Into the Woods. It was a thoroughly professional, impressive, and magical performance and if you’re in (or can get to) the Bay Area, I urge you to get tickets for it right now.

    Let it be known up front that I’m a huge fan of Into the Woods. I own the CD and DVD, I’ve accompanied many a singer with ITW pieces for auditions, and I’ve previously attended a live production of the show (albeit not on Broadway).

    Therefore, as you might imagine, I attended this performance at Theatre Works with an eager but cautious mindset. Not only was it a dress rehearsal (not even a preview, much less an actual paid-for performance), but this was also “regional theatre.” As someone who has done regional theatre in the past, not to mention attended a ton of regional theatre performances, I’ve come to temper my expectations to prepare myself for oft-lackluster albeit sincere and enthusiastic orchestras, costuming, choreography, singing, and so on.

    Boy, was I in for a surprise with this show, which was pretty much professional caliber! I should have gotten a hint early on when, in perusing my program, I noticed that the bulk of the actors are members of the Actors’ Equity Association… folks *serious* about theatre.

    * * *

    I barely noticed the orchestra except when concentrating on them — which, for a musical, is how it should be IMHO (and mind you, I was an orchestra conductor for a regional theatre once upon a time :-D). The balance within the orchestra and between the orchestra and cast was admirable, as was its connection with the singers in tempo and feel.

    The lighting, costuming, and — wow! — the sets… all fantastic. In fact, after seeing the Broadway production on DVD, I was particularly floored at how much was done here with the sets… engaging but not obtrusive or distracting. Plus, a live “cow” — very different than the original production, but a clever (and oft-hilarious) touch!

    Okay, Adam, but how about the ACTING AND SINGING, eh?

    Well, I was quite impressed there, too. In particular, I found that the princes — while certainly assisted by the humorous book — were especially adept at their comedic roles. The Baker’s Wife was another standout, IMHO… with a fabulous ability to provoke sympathy, laughter, indignation… the whole spectrum. In general, the entire cast showcased strong acting and singing talents, though I was a bit less impressed with the singing abilities of Jack’s mom.

    Additionally, I did feel that the witch was slightly less proficient at enunciating than other leads, and — when comparing her to the distinctive (original witch) Bernadette Peters — her acting and singing dynamics seem a tiny bit dwarfed.

    And speaking of enunciation issues: while my friends (who weren’t familiar with the musical) and I found the lyrics to be sung generally cleanly and clearly overall, I did feel that some of the ensemble numbers (actually few and far between in this musical) were a bit muddled… likely due to mic/balance issues (quite possibly to be cured by actual performance time), but also possibly due in part to a lack of exactness/sharpness/togetherness in enunciation. More critically, I was unable to understand almost anything boomed by the giant.

    Aside from the above issues concerning spoken/sung clarity, I do have a few of other nitpicks:
    – Jack’s Mother’s ear-pulling grew annoying in its repetitiveness.
    – Ditto for the witches ‘pain boom’ or whatever it’s officially called. Additionally, this was the only special effect I can recall that felt hokey in the production, and is one of those things that likely would have been more powerful without any visible effects at all.
    – I’d like to see a bit more expressiveness and depth from the narrator. The narrator of this production is certainly fine, but seems to lack some of the gravity and punch of the one I had grown used to in the professional recordings.

    * * *

    A warning to prospective attendees: This show is long (around 3 hours, including a brief intermission). It’s also *NOT* for young children. Yes, it involves fairy tales. No, there’s no blood or foul language or explicit sexuality. But it tackles very adult themes… love, death, fidelity, morality, loneliness, parenting, and so on, and in a way that often requires concerted listening and patience.

    This show, however, is a wonderful affair for the rest of us. While not providing a Disney’esque happy ending, it should deftly entertain, amuse, and charm anyone with heart. No live helicopters, no Elton John ballads… just an intricate, thoughtful, and engaging book and score — and thankfully a cast and crew that does the work justice.

    Bring tissues, and bring a friend. This is a show you’ll feel good about loving :-).

  • Miscellanous Musings ’bout Musicals (mmmm!)

    Lots of you probably know I’m a techno-geek. But did you know I’m a music ‘n’ theatre-obsessed geek?

    Well, I have lots… LOTS… on my mind about theatre stuff, but for now I’ll just subject you to some random musings. Hope you don’t mind.

    Magic in musicals
    I believe the very best musicals are MAGICAL. An audience with mouths wide open, no concept of time elapsed… an experience that makes you really think or dream or wonder or desire long after the curtains go down. Singing in the Rain is magical. Little Shop of Horrors is magical. Though it wasn’t quite my taste, Les Miz is magical.

    Breaking of the third wall
    It may have been cute once, but I’m getting sick of musicals constantly referencing the audience. It’s okay to have a narrator (I think this works in Joseph and the Amazing Technicolor Dreamcoat, for instance), and it can be fun to involve the audience in some ways interactively (as in The Mystery of Edwin Drood). But snide remarks about ticket prices, frequent comedic asides or jarring pleas to the audience and so on… this all reminds me that… damn, I *have* paid $90 for this artificial experience. It’s not real. It’s almost akin to having a serious TV movie broken up by commercials (wow, way to break the mood).

    I’m forking over hard-earned cash because I want to escape from reality for a bit. Quit the jarring reminders that I’m sitting in a not-so-comfy chair in the nosebleed section, okay? It’s not nice, and it’s not particularly funny either.

    And speaking about prices…
    $100+ to see a musical on Broadway. I’d like to know where that money is going. How much to the performers?… and not just the big-name stars, either! How much to the orchestra folks? The choreographer? I sincerely hope the actual ARTISTS (not just business managers) are making the bulk of this cash.

    Still, even if that’s the case, it’s making me sad to see ticket prices so high. Heck, I’ve noticed even community theatre productions are selling tickets for as high as $53 a seat!

    Thankfully there are ways to save a lot of money on tickets!
    Here are a few tips:

    • In New York City and I think a few other cities, if you don’t mind seeing a show that’s been running for 6+ months, get half price tickets at the TKTS booths either the day of or day before.
    • Offer to usher!
    • See if theatres offer free open seating for previews or dress rehearsals. For instance, I’m going tonight with friends to see Into the Woods for FREE from the very talented Theatre Works group in Palo Alto. Tickets are normally $40-$53 each!
    • If you’re in the Bay Area, sign up for the Artsopolis newsletter. Sort of like the airline weekend Internet specials, Artsopolis sends out a newsletter each Thursday with ~40%-off deals for lots of great local performances!
    • Scan Craigslist.

    Please, please, PLEASE, people… don’t patronize scalpers. IMHO, these folks are the scum of the earth and at least partly responsible for inflated ticket prices. By the way, if you see people selling tickets on CraigsList for more than face value, flag the posts! Scalping is against CraigsList’s terms of service!

    See the musical or listen to it first?
    I’m still trying to figure out what’s best. A few times, I’ve become so familiar with the score of a musical before seeing it, that I find myself either somewhat bored during the show or disappointed that the performers don’t sound like the folks I’ve grown comfortable hearing sing the musical.

    On the other hand, I know that it’s sometimes very helpful and enjoyable to have a better understanding of the plot AND the lyrics before seeing a show live.

    A little-known secret to upgrade your theatre seat at no extra cost
    At a recent show I attended in New York (Dirty Rotten Scoundrels), I was initially saddened that my half-price ticket was for a seat in the VERY back of the theatre… until I saw a neighbor grab a comfy seat pillow and instantly become 4 inches taller. I’m guessing that this isn’t an appropriate option for those NOT in a back row, but let me tell you, using such a pillow myself improved my appreciation of the show immensely… not only due to my improved height, but my happier bottom 🙂

    Theatre as a solitary affair
    At the above-mentioned New York theatre trip, I ended up seeing the musical all by myself. Er, no, it wasn’t a private one-person showing, but rather, this was the first time I had attended a musical alone. It was a bit sad and disconcerting, frankly, and I don’t think I’ll do it again. There’s something about having a friend or family member or date or significant other next to you, even without any words shared during the show; it’s hard to describe, but I now realize just how comforting it is!

    You paid $100 and you’re walking out before the show is over?
    I’ll never understand why people pay such money to see shows on Broadway and then hustle towards the exits WHILE THE ORCHESTRA IS STILL PLAYING. Whether they don’t consider the orchestra to be part of the show or they’re so eager to be first out the door, it makes no difference in my mind. It just seems like moronic, disrespectful behavior.

    What’s with the standing ovations for EVERY fricking show?!
    Colleges have grade inflation, theatres have ovation inflation. Both, IMHO, are equally annoying and regrettable.

    When a name just isn’t worth it
    John Lithgow, I’m sorry, but you’re not a singer. You can’t even cleanly hit an ‘F’ above middle C. Please step aside and let actual singers take your role.

    Then again, the public seems to be so name-obsessed (in movies, music, everything… gah!) that talent is subordinate. How regrettable.

    Sure, I love some of the ‘big names’ (Nathan Lane is a hell of a lot of fun and he CAN sing. Same for Norbert Leo Butz… though if I were him, I’d have gotten a name change eons ago). But it’d sure be nice to have musicals marketed based more upon their book and such, rather than what big name star happens to be coming or going.

    Why aren’t William Finn’s musicals more popular?
    I know, I know… he writes about gay people and brain tumors and other non-traditional issues. But his musicals have so much HEART in them! Luckily, though, his Spelling Bee musical has caught on like wildfire… so it seems that he’s finally getting his due. Then again, outside of New York, just how many people HAVE heard of The 25th Annual Putnam County Spelling Bee? Ah, if only the world of musicals got as much press and play (no pun intended) as the over-inflated world of bubblegum pop.

    I guess that’s about as likely as high school arts programs getting as much support and funding as athletic programs. Oh well. I can dream, right?

  • Fun music clip – Aunt Sue’s Ant Soup

    After all the serious posts about geek stuff, I figured it was time to throw in a bit of levity again. So here’s a sample I’ve lovingly clipped from The Blender’s “Aunt Sue’s Ant Soup.”

    Here’s a bit about this song and the group behind it… plus — I know you’re craving this — the full lyrics I insanely transcribed in a fit of insomnia last night.

    The Blenders a cappella group – not to be confused with The Blenders of oldies fame — is a deliciously versatile, sometimes-wacky, always harmonious group that is just damn infectious.

    Sadly, on The Blenders’ own Web site (warning: music autoplays), they only feature clips from their Christmas tunes… fine enough in their own right, but their repetoire is so much deeper! 🙂

    Love a cappella… or curious and want to discover more from this genre? Check out these other links!
    – Primarily a cappella: comprehensive catalog, nice folks!
    – Contemporary A cappella Society: Amazingly deep and cool info.
    – Another song by the Blenders (ack, I forgot I had already profiled this group… but oh well, too late to turn back now! I promise to highlight other a cappella groups soon 🙂
    – A gorgeous tune sung by the amazingly talented Swingle Singers

    * * *

    And now, for the Aunt Sue’s Aunt Soup lyrics!

    Oh! Just realized…
    Today is the second Sunday of July.
    And that can only mean one thing:
    M’ family is expectin’ me for supper at Aunt Sue’s
    I love… she’s quite… a ding-a-ling

    {8 bar interlude}

    I wonder what concoction she’ll whip up for us. {throat clear}
    Maybe some furball stew.
    Nothing could compare to last year’s lovely little dish.
    When we all ate Aunt Sue’s Ant Soup. {scream}

    She’s got lots of charm.
    She’s drainin’ the ant farm.
    The neighborhood and sex {panting}
    Have plenty of reason to be alarmed.

    {Sung/chanted}
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s!

    {8 bars of Vocal Trumpet solo}

    The bride of the broth,
    The Queen of the crock,
    I ain’t foolin’ ya
    She loves that bouillon.
    Dad says that her mind is on vacation.

    She does it with taste.
    Nothing goes to waste.
    There’s critters and hair
    All over the place,

    Resulting in a lack of sanitation.

    {Spoken by father} Is that it?
    {Spoken by boy} No!
    {Spoken by father} Oh.

    {4 bars of trumpet solo}

    Today is the second Sunday of July,
    That can only mean one thing.
    Family’s expecting me for supper at Aunt Sue’s.
    I love… she’s quite… (a ding-a-ling)

    {Spoken by Aunt Sue} Have some more darling!

    She’s got lots of charm.
    She’s shakin’ the ant farm.
    The neighborhood and sex
    Have plenty of reason to be alarmed {panting} {spoken} you know what I mean?

    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!

    {Spoken by boy} Hey Aunt Sue, where’s your little dog Ginger?
    {Spoken by Aunt Sue} Oh, the little feller adds spice to every meal!

    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!

    {Spoken by boy} Hey Aunt Sue, where’s Uncle Stu?
    {Spoken by Aunt Sue} Oh, he’s cooking… something.

    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s! Ant soup!
    Aunt Sue’s!

    {Scratchy album vintage feel}
    She’s such a sweetie
    But… still kind of greasy
    She’s my… Aunt… Sue………. {soft chuckle}
    [breath]
    uuuuuuuuuuuuuuu.
    {/Scratchy}

    We really mean it.

    {Stripper feel}
    My… Aunt… Sue… Aunt… Sue
    [Big ending] Oh yeaaaaaahh
    {/stripper feel}

    {Rapidfire a cappella medley /}

    {goofy voice}
    That’s blendertaaaaaainment!
    {/goofy voice}

    * * *

    Edited Saturday, July 10, 2021 to add:
    – Updated clip embed… woo hoo!

    Edited at 4:24pm PST to add:
    Want to hear more of The Blenders?
    You can catch their stuff on the following online music networks:
    – iTunes Music Service, Napster, Rhapsody, lala – Lots of their tracks!
    – Yahoo Music Unlimited and Virgin Digital – A few of their tracks

    Edited on 12/23/05 to add:
    Thanks to my aca friend Tat Tong for deciphering the “little feller” line of the lyrics tonight 🙂

    Edited on 11/9/09:
    – Fixed some links
    – Made minor lyrics / content corrections

  • Why do people willingly go see REALLY bad films?

    So I just read that the remake’d movie The Fog is #1 at the box office this weekend.

    WTF?$#@*#&!!

    Look at the reviews.

    For those of you too lazy to click, let me quote from a few:
    – “The Fog is a bore, laden with unspectacular special effects and dreadful acting…”
    – “Wainwright’s Fog proves successful only at blowing.”
    – “…this flick absolutely stinks of half-hearted effort and assembly-line cynicism.”

    From Rotten Tomatoes, it has an average review score of 2.5 out of 10. This isn’t ambiguous. The film doesn’t just blow… it sucks!

    Why do I care?

    Well, because when crap like this (or Gigli, or Catwoman, etc.) brings in money, then the studios are incented to create MORE crap like this. Worse yet, then movie theatres feel compelled to dedicate screens to such drivel instead of showcasing worthwhile (and, dare I say it, oft independent or foreign) films.

    I’m not saying that all films should be serious works of art. Hell, I just watched Bubba Ho-tep last night :D.

    And it’s not that I think less of people going to see a film where there’s not really a huge critical consensus (e.g., 40% of critics loved it). But I’d like to slap silly the folks that go see films that have scores like 3% on the Tomatometer. At risk of being a bit overdramatic, in a way they’re ruining the theatre for the rest of us.

  • GoogleTV – undoubtedly a boon for consumers, but…

    GoogleTV is coming.

    In this role, you will provide leadership on product vision and execution of projects that enable using Google’s search and advertising technologies to enhance users? Television viewing experience. […] You will identify key market trends that are shaping user behavior when watching Television. These include but not limited to the intersection of Internet and Television technologies, Video-On-Demand, Personal Video Recorders and emergence of next generation set-top-boxes with IP connectivity. You will then identify areas where use of Google’s search and advertising technology can enhance this user experience and define appropriate products to deliver these user benefits. […]

    – Job posting placed online by Google this morning

    UPDATE 9/23/05:
    Google has removed the job listing from their site.

    * * *

    Is Tivo quaking in their boots? And will Hollywood embrace or fear the upcoming empowerment of consumers?

    Historically, even when it’s been in the entertainment industry’s long-term best interests, they’ve staunchly protested many technological advancements. VCRs, Tivo… despite the reality of occasional ad-skipping, these tools have undoubtedly increased viewership (and with videocassettes / DVDs, sales) by an order of magnitude.

    * * *

    What will the Google tools offer consumers, advertisers and the entertainment folks? And what will be the response of privacy advocates to the advertisement targeting?

    Benefits of TV ad targeting
    I’m guessing that Google will ultimately succeed in matching (unnamed) user viewer behavior — individually or in the small-aggregate — to smart-targeted ads, and I think that’s great. I’m personally in favor of the new world entertainment order. If I’m watching a nature show, I’d rather be pitched an ad for eco-friendly detergent than an SUV. And more specifically, if I watch a lot of nature shows, then even when I’m watching non-green stuff, I should be shown ads that appeal to my environmental sensibilities.

    Targeting by show, not by person?
    In terms of privacy, I do hope (and expect) that Google won’t be attaching viewing profiles to personally identifying information (e.g., they won’t know that Adam Lasnik is a liberal environmental softie). That’s how their Gmail works, at least; I believe they actually target per e-mail not to a specific ongoing profile, much less a particular named person.

    * * *

    Ad targeting challenges and concerns
    So many fascinating issues! Even for those of us who aren’t big TV watchers, this heralds an era that’s worth watching. Particularly in the privacy (and perceived privacy) arena… worthy questions abound; should Google profile users long-term? How will it deal with multiple family members? And unlike with Web surfing that generally features one person typing/viewing at a time, TV can often be a family matter. If Dad loves golf and Mom loves gospel music and they’re watching a crime drama together, could viewer profiling work in this messy context? What about inappropriate juxtapositions (ads for funeral homes during coverage of Katrina)? Google takes care to avoid inappropriate and uncomfortable content/ad ties in its current properties, but the visual medium can be so much more powerful and searing…

    * * *

    Can Google play nice, even with dinosaurs?
    And then there are the questions about Google’s current and upcoming relationship with content providers and advertisers. We already know that Google’s relationship with at least some book associations is strained at best (unfairly so, IMHO). And I’ve read quotes from entertainment moguls as being a bit wary of Google in some contexts…

    Hopefully this time Google will more strongly endeavor to engage in proactive, open, and reassuring conversations with all affected parties… even those who are governed more by fear than by consumer interests.

    —

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    – An index of postings about Google in this blog.
    – An index of general Geekdom postings in this blog.
    – The full-text RSS feed for this entire blog.

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  • I don’t understand American pop culture and I want to create a culture mashup

    Apparently, according to a recent newspaper article, viewers are getting sick of reality TV shows.

    You don’t say.

    Could it be that people are actually discovering that time spent in front of the tube watching others’ (laughably) “real” lives is time that’s not spent developing real friendships, pursuing real hobbies, learning real skills, getting real exercise or even real sleep?

    Nah.

    Frankly, I’m just feeling like an old fuddy-duddy nowadays, because at the approaching-dentures-age of 34, I don’t get most of popular culture. I don’t understand why people wear clothes that are clearly uncomfortable, why people love so much music that is — by pretty much any unbiased measurement — unmusical, and why people watch so many crime shows (isn’t there enough adversity, darkness, and gore in the real world?)

    I yearn for a mixture of former and modern times. I am deeply saddened that I missed the eras of Beethoven and Basie, but I am thrilled to be living in a time in which I can connect with other theatre aficianados across the world via the Internet.

    I’m simply disgusted when I listen to the Top Billboard charts via online music services, but uplifted when I can discover amazing gems from over 1.5 million songs in these same grand jukeboxes at home and work for $5/month.

    I want to shatter glass when I encounter the pure idiocy of a TV barking CNN news coverage in my hotel elevator. But I feel like hugging my radio when I hear yet another enlightening or heartwarming segment on NPR.

    I want to create an island with all the good mixed from disparate eras and cultures, and move there… as long as I have a good Internet connection, lots of quality broadway musicals, several fab big bands, my favorite lindy hop teachers, good sushi, a nice piano, a big heated swimming pool, snappy dressers, organic foods, women with sexy aussie accents… okay, okay, it’ll have to be a hell of a big island.

    Maybe someday.

  • On life’s little surprises

    So I’m listening to Internet radio and, without noticing the current title playing, marveling at a rich and engaging orchestral piece I don’t recognize.

    Holy smokes… it’s from the first Pokemon movie?! Studio execs hired a decent full orchestra AND reasonably talented composer/arranger for THAT???

    Just goes to show you that, even in the most seemingly inconsequential of places, there are little and surprising joys to be found.

  • A brief review of XM Radio Online

    So I just signed up for a free 30-day trial subscription to XM Radio online. What can I say… I’m a sucker for all the online music stuff (having tried Napster, Rhapsody, Virgin Digital, Wal-Mart, iTunes, and probably a dozen other services…)

    Alas, XM Radio is simply not worth your time if you plan on only using the online component. If you’re interested in listening to music while away from your computer (like I suppose some non-geeks may actually do :D), it may be better. Here’s why it’s not an optimum online solution:

    • Streaming at either 32kbps or 64kbps?! You’ve got to be kidding. As you can guess, the sound quality is sub-par.
    • Buffering when switching to new channels is longer than on many other services… with even occasional breakups in the middle of songs on my screaming system with fast broadband.
    • No way to skip over songs you don’t like.

    There are a couple of good aspects:

    • Lots of channels to choose from.
    • You can see what’s playing on any channel at any given moment.

    As suggested above, if you’re looking to augment the music you get in your car, XM (car) Radio + XM Online might be a winning combo. But for me… I’ll stick with NPR during my commute and better online radio offerings when I’m home.