While looking through stories posted on digg, I came across a story about an Anti-DRM Demonstration which took place in New York. A user posted a comment which seems extremely uninformed, he wrote: "There are some merits to certain aspects of the anti-drm stance, but in general it's a thinly veiled disguise behind which people who for whatever reason don't feel like they want to follow intellectual property laws." I will try to pose some points on why, in general, DRM is in fact a violation of the individual's property rights.
One of the first points that crossed my mind about "intellectual property laws" is how many of the creator's of the "intellectual property" oppose any kinds of digital rights management. Take for instance the recent story about the Dave Matthews Band disc, which had copy protection that prevented the user from making legal digital copies of their physical property. While I don't like the band, I do like the fact that they posted a guide on their website on how to circumvent this protection so that you, the individual, can preserve your investment. It is clear that the copy protection was not supported by the owners of the "intellectual property," it is in fact a corporate decision to protect record sales and ensure that discs are purchased instead of pilfered. How can you argue that the artist wanted to stop violations of copyright, when they have guides on how you can circumvent the technology?
It simply can not be argued that it’s a violation of “intellectual property” any longer, because many of the owners of said property want their property open. If an artist, not a corporation, wants to implement copy protection that’s their prerogative. Most artists make virtually nothing from record sales – thanks again, to their huge sycophantic distributors – and make the majority of their money from tours and merchandise. Who are “intellectual property laws” really protecting?
Another key point to the argument against DRM is individual property rights. If I purchase a film or an album, on a physical medium, that is prone to eventual decay as to be rendered inaccessible, why can't I make a digital copy for archival purposes? Personally, I copy every album I purchase to my hard drive in the event that I lose the disc, or it's damaged in some way (I've had these problems, lost discs and broken discs, and having a digital copy at my disposal has rarely deterred me from actually buying another copy of the physical disc eventually). Digital Rights Management prevents me from copying my property, to protect my investment, and the reason is simply asinine.
I do not use file sharing software, so nothing I have is ever shared with anybody else, but yet I still can't have a copy of my property for my own fair personal use. It's simply unfeasible to think that piracy and the propagation of media will ever be stopped or slowed; the community of file sharing is evolving as fast as the technology to stop it. It's a never ending battle - much like the War on Drugs. Nothing is going to change, and it’s simply not fair that the majority of end users are prevented from copying the music or films that they own, because a few pirates and file sharers are violating the law.
EDIT: A prime example of Digital Rights Extortion can be read about here
Friday, October 28, 2005
Thursday, August 25, 2005
Extension Madness
Lately it seems like a lot of the people I know are switching to Firefox. I applaud the move and wish them luck with the best browser out there - in my opinion. I have noticed, however, that useful extensions can be tough to track down for the novice user. Therefore, I've decided I'd list a few of my favorite extensions to aid you in your surfing.
Sage
Sage is an RSS and Atom feed reader extension for Firefox. Sage allows you to add feeds to a list, discover feeds on a webpage, and check feeds for updates, quickly alerting the user to new content on their favorite websites. If you are familiar with sites like Engadget, Hackaday, Slashdot, Stereogum, or any other compatible sites, and haven't used a news reader this is your chance.
ForecastFox
ForecastFox is a handy little extension that adds the current weather to your status bar. Unlike WeatherBug and other desktop products, ForecastFox does not contain any kind of spyware/adware. It's extremely unobtrusive and easy to use. All you have to do is move the cursor over the icon and you can instantly find out the current temperature and other useful information.
Adblock & Adblock Filterset
Adblock, coupled with the filterset - which acts much like PeerGuardian or SafePeer for P2P programs - is a must have extension for any user of Firefox. The web has become a very scary place with pop ups and stupid flash banners, and other such web annoyances, but with Adblock those problems can be a thing of the past. Adblock allows you to easily filter the garbage out, and help you maintain your sanity for just a little longer.
Disable Targets for Download
A very common problem with Firefox is it's tendency to spawn a window or tab when the user is trying to download a file from the internet. This extension helps combat this problem by blocking extensions from spawning a new window or a tab.
Popup Blocker Hack
While this isn't exactly an extension it is still pretty handy in the added functionality offered to Firefox. When Firefox first emerged nearly no popup would escape the built in popup blocker, but now that's changed. It's quite common for a few to slip by and open up a new tab or an ugly window. With this quick hack Firefox will work just like before, and popups will be a thing of the past.
Sage
Sage is an RSS and Atom feed reader extension for Firefox. Sage allows you to add feeds to a list, discover feeds on a webpage, and check feeds for updates, quickly alerting the user to new content on their favorite websites. If you are familiar with sites like Engadget, Hackaday, Slashdot, Stereogum, or any other compatible sites, and haven't used a news reader this is your chance.
ForecastFox
ForecastFox is a handy little extension that adds the current weather to your status bar. Unlike WeatherBug and other desktop products, ForecastFox does not contain any kind of spyware/adware. It's extremely unobtrusive and easy to use. All you have to do is move the cursor over the icon and you can instantly find out the current temperature and other useful information.
Adblock & Adblock Filterset
Adblock, coupled with the filterset - which acts much like PeerGuardian or SafePeer for P2P programs - is a must have extension for any user of Firefox. The web has become a very scary place with pop ups and stupid flash banners, and other such web annoyances, but with Adblock those problems can be a thing of the past. Adblock allows you to easily filter the garbage out, and help you maintain your sanity for just a little longer.
Disable Targets for Download
A very common problem with Firefox is it's tendency to spawn a window or tab when the user is trying to download a file from the internet. This extension helps combat this problem by blocking extensions from spawning a new window or a tab.
Popup Blocker Hack
While this isn't exactly an extension it is still pretty handy in the added functionality offered to Firefox. When Firefox first emerged nearly no popup would escape the built in popup blocker, but now that's changed. It's quite common for a few to slip by and open up a new tab or an ugly window. With this quick hack Firefox will work just like before, and popups will be a thing of the past.
Wednesday, August 24, 2005
Longhorned Tiger
The other day after reading about the ease of installing the recently leaked OS X x86 Developer build, I decided I would give it a try. Once I finally got the image copied, OS X started up without a hitch. The only problem was, my mouse wasn't working correctly.
Long story short I would eventually get OS X functioning correctly, and it was quite rewarding. I've always liked Apple's UI although I admitedly have very little experience using it. The computer was running quite fast, percievably faster then when I run XP, but I didn't really know where to go from there. Sure, I had the thing running, and it was pretty cool, but what's the point? What benefit does OS X yield? After a few hours of searching I can say I couldn't find any compelling reason to switch to the Apple camp.
Sure OS X has the cool task bar thing on the bottom of the screen and has...well, I don't even know what else it has. (That's not entirely true, I do know that it has a command line which is based on Unix which gives the OS some appeal over MS, but I couldn't find out where it was) The problem I had with my experience was that it seemed to simplified. I felt like the interface was catering to the lowest common denominator of computer users. I may have felt this way due to the lack of software pre-installed on the machine, or maybe it's the fact that I have no real experience with Apple's products (any of them). Either way, it felt too empty.
A few days after my OS X debacle, I started thinking about the next major endeavor from the Microsoft camp, and decided I'd like to give it a try - though, it is still in beta. I installed it rather painlessly - fired up the disc and went off to class, only to return to a strange looking background with transparent everything, and I mean EVERYTHING.
The Beta build didn't include drivers for some of the components of my system (SoundBlaster Audigy 2 Pro, HP 1510 Printer, and I think my GeForce FX5700), but it seems to manage just fine. Much like Tiger, Vista is fast. It felt much faster then my XP machine even without drivers for some of the hardware - which is what I suspect is crippling the performance in XP. Installing software was very easy however, in about two seconds flat I was using Trillian and downloading things from usenet. It was a pretty painless experience.
I definitely like some of the things about this early new interface. The new start menu is pretty nice because it doesn't build out onto the desktop, it's contained within itself. In other words, space is perceivably saved. It also has a built in search bar on the bottom, which is very accessible. The Control Panel has received a face life and seems to be slightly more user friendly, providing links to the common task in the topics underneath the topic button. Internet Explorer 7 beta is pretty slick too, it supports tabbed browsing. I don't like the position of the control bar though - it is placed underneath the tabs, unlike almost every other browser (which supports tabs) that I have seen.
Although Vista and OS X were nice diversions, I have to stay with XP (If not just because it's legal). If Vista was final then I'm sure I would switch, but there's a lot of work that needs to be done to get the functionality and support up to where it needs to be. Maybe if OS X didn't make me feel like a 2nd grader in a computer lab I would stick with Tiger, but it definitely does, and I definitely won't. I'm looking forward to Vista, even if the majority of the internet is not.
Monday, July 11, 2005
The Island Horror
Micheal Bay's latest attempt at cinema
*contains some spoilers, but then again, if you rent "Parts: The Clonus Horror" you will have seen a better version of this film*
This past Saturday I had an oppurtunity to see Micheal Bay's "The Island" about two weeks before it came out. My primary motivation for seeing the film was the attachment of Scarlett Johansson. I realize that it is quite chic to bash the work of Micheal Bay , especially after the uproarious "Team America: World Police," but I was willing to give the film a chance. I did like "The Rock." I even enjoyed "Bad Boys" when I saw it...ten years ago.
Unfortunetly, "The Island" aims very high and falls far short of the intended target. The story was original...thirty years ago. The premise of the film is eerily similar, though no credit was given, to a film from the 70's called "Parts: The Clonus Horror." While that film was no gem, it was the first time this story was told, and to some degree it was told much better.
The amount of plot holes and "magic bullets" is laughable. It's extremely hard to swallow that clones can somehow acquire their progenetor's memory, even though they have not experienced the memories themselves nor were they present at the time of the clones birth. Another brutal turn is the sudden conscience and moral dilemma of Djimon Hounsou, playing a contract killer, who throughout the majority of the film has no qualm with murdering countless civilians, police officers, and employees of the cloning facility.
Despite having several beautiful scenic shots, the film on the whole felt like a commercial. The aesthetic is that of almost any car advertisement, and I wouldn't be surprised if Bay was payed to maintain that image - since he was clearly thrown money by Microsoft, Puma, Calvin Klein, Aquafina, Michelob, Dodge, Cadillac, Nokia, and several magazines (including Maxim). I've come to realize that I hate the fashion in which most action sequences are shot. While this film wasn't anything like "The Bourne Supremecy," which felt like somebody got their first video camera and made a movie, it was very hard to focus on what was happening in the frame. Since the actors spend most of their time running, the camera - instead of remaining somewhat stationary and removed - is running alongside the actors, attempting to follow them while blurs of color fly through the shot.
This film was a let down on so many levels. Maybe since "Batman Begins" and "War of The Worlds" were both great I was hoping for a third successful summer action picture, and I set myself up to be let down. Unfortunetly for the audience, the actors fall flat behind horrible dialogue - rivaled only by the work of George Lucas, and the story falls short of it's inspiration. The final product was a generic sci-fi action film with dull action and uninspired performances.
It will be interesting to see what happens two weeks from now at the box office.
Thursday, June 02, 2005
"Hell is Coming"
Conor Oberst was recently featured on Al Franken's liberal Air America Radio. He stopped by in late May to the "Majority Report", hosted by Janeane Garaffolo. I've edited a copy of the show so that you can listen to the twenty minutes Conor was in the studio. I've also edited out the song he played while taping the show.
Majority Report feat. Conor Oberst (Bright Eyes) - May 24, 2005
Bright Eyes - "Hell Is Coming" (unknown title)
Majority Report feat. Conor Oberst (Bright Eyes) - May 24, 2005
Bright Eyes - "Hell Is Coming" (unknown title)
Thursday, May 19, 2005
Monday, May 16, 2005
The Revolution Was Televised
Now that both of the major players - sorry Nintendo, but you aren't really taken very seriously anymore - have released their product specs, it's a good time to compare the projected power of each system.
The Xbox 360 is poised to change the face of gaming forever. While technically inferior to the released specifications for the Playstation 3, the Xbox 360 has one major advantage over its competitors: usability. That is to say, the Xbox 360 is poised to take the crown because it's not just a powerful game playing machine, it's designed to be a media hub; a consolidation of hi-def content (like movies and games) with the focus on user freedom.
The new system offers hi-def games - at 720p or better for every single title - and Dolby 5.1 surround - also mandatory for every game released on the console. The console is slated to ship with a 20gb hard drive which will be "easily upgradable" (the PS3 is set to include a laptop form hard drive, which are traditionally more expensive to replace) and will offer the user myriad of functions: video storage, and audio storage - which will play a bigger part now that every game shipped will support custom soundtracks. The system can also be used as a streaming device; the user can share movies and music on their PC and play them back on their Xbox 360.
It is clear that the utilization of the internet and related technologies - like wi-fi (802.11x), which will drive the consoles controllers - are what separate the system from the rest of the pack. Microsoft has decided to give the user many features out of the box, and let the consumer interact with these features as they see fit. That is to say, that Microsoft intends to let the consumers define their system and "make it theirs" - as J Allard, the brain behind the Xbox 360, is fond of saying.
I see nothing similar from the Sony camp.
While the Playstation 3 is amazing on paper, it's the implementation of these features that will set the systems apart. Sony is a powerful company, and they are not about to let Microsoft innovate in the industry they have dominated for the past decade. The system will support Blu-Ray discs - a new media format which is capable of storing six times the amount of data a DVD can - and offer complete backwards compatibility all the way down to the PSX. The system will support many interfaces and storage devices which will help Sony quell the force of the 360.
The Playstation 3 will be a powerful game machine with a focus on powerful software instead of operability. While there are many interesting features - like support for seven Bluetooth driven controllers per console (which begs the question, "Who wants to play seven people on one tv?"), Compact Flash and Memory Stick support, a laptop hard drive (size unknown), and support for 1080p display (which probably none of your televisions or LCD monitors support, even if they are HDTV compatible) - there has been little talk about how these features will be used.
The Playstation 2 was equipped with two USB ports, a hard drive bay, and room for a network device, but support for these interfaces never really caught on with developers. Instead of focusing on what the system supports Sony should be focusing on what that means, and how the new technology can be implemented. Many of the reported features - like audio and video content storage - are similar to that of the Xbox 360, but Microsoft has already discussed how it plans to integrate these concepts into the user experience.
I used to consider myself a Sony "fanboy," one of those guys who hated every other system for no real reason at all. I refused to buy an Xbox or even play Halo, on the grounds that the Playstation 2 was a better machine for playing games. It's interesting now that I'm a few years older, that the features of the systems not directly associated with gameplay excite me so much. I'm not content with just playing the game anymore, I'm excited by the ways I can play my games. It's the innovation of the gameplay, the various ways in which I can play the game, which excite me the most. The quality of the software will ultimately decide the winner in the minds of most gamers, but I have my eye on usability and innovation.
We know that these systems are both capable of amazing graphics, amazing gameplay, amazing quality. Now with most game publishers porting their titles to every console it doesn't even matter what system you buy the game for, the draw becomes what you can do with your console that the other console can't. We don't know exactly how each company will utilize their attributes. At this stage in the game the Xbox 360 has me much more excited then the Playstation 3, simply because they are taking consoles and "gaming" in a completely new direction.
Integration and interconnectivity will be imperative in the next-gen console race, and the company that can master these concepts will prove the victor of the next console war. Sony has the power and the underlying technology to make a move on the well established Xbox Live and the idea of interconnectivity, but I have a feeling their eyes are focused on numbers and graphs instead of on innovation. They have managed to destroy systems based solely on their software and relative power in the past, but this next battle will be less about the aesthetics of gameplay and more about the way you play the game.
The Xbox 360 is poised to change the face of gaming forever. While technically inferior to the released specifications for the Playstation 3, the Xbox 360 has one major advantage over its competitors: usability. That is to say, the Xbox 360 is poised to take the crown because it's not just a powerful game playing machine, it's designed to be a media hub; a consolidation of hi-def content (like movies and games) with the focus on user freedom.
The new system offers hi-def games - at 720p or better for every single title - and Dolby 5.1 surround - also mandatory for every game released on the console. The console is slated to ship with a 20gb hard drive which will be "easily upgradable" (the PS3 is set to include a laptop form hard drive, which are traditionally more expensive to replace) and will offer the user myriad of functions: video storage, and audio storage - which will play a bigger part now that every game shipped will support custom soundtracks. The system can also be used as a streaming device; the user can share movies and music on their PC and play them back on their Xbox 360.
It is clear that the utilization of the internet and related technologies - like wi-fi (802.11x), which will drive the consoles controllers - are what separate the system from the rest of the pack. Microsoft has decided to give the user many features out of the box, and let the consumer interact with these features as they see fit. That is to say, that Microsoft intends to let the consumers define their system and "make it theirs" - as J Allard, the brain behind the Xbox 360, is fond of saying.
I see nothing similar from the Sony camp.
While the Playstation 3 is amazing on paper, it's the implementation of these features that will set the systems apart. Sony is a powerful company, and they are not about to let Microsoft innovate in the industry they have dominated for the past decade. The system will support Blu-Ray discs - a new media format which is capable of storing six times the amount of data a DVD can - and offer complete backwards compatibility all the way down to the PSX. The system will support many interfaces and storage devices which will help Sony quell the force of the 360.
The Playstation 3 will be a powerful game machine with a focus on powerful software instead of operability. While there are many interesting features - like support for seven Bluetooth driven controllers per console (which begs the question, "Who wants to play seven people on one tv?"), Compact Flash and Memory Stick support, a laptop hard drive (size unknown), and support for 1080p display (which probably none of your televisions or LCD monitors support, even if they are HDTV compatible) - there has been little talk about how these features will be used.
The Playstation 2 was equipped with two USB ports, a hard drive bay, and room for a network device, but support for these interfaces never really caught on with developers. Instead of focusing on what the system supports Sony should be focusing on what that means, and how the new technology can be implemented. Many of the reported features - like audio and video content storage - are similar to that of the Xbox 360, but Microsoft has already discussed how it plans to integrate these concepts into the user experience.
I used to consider myself a Sony "fanboy," one of those guys who hated every other system for no real reason at all. I refused to buy an Xbox or even play Halo, on the grounds that the Playstation 2 was a better machine for playing games. It's interesting now that I'm a few years older, that the features of the systems not directly associated with gameplay excite me so much. I'm not content with just playing the game anymore, I'm excited by the ways I can play my games. It's the innovation of the gameplay, the various ways in which I can play the game, which excite me the most. The quality of the software will ultimately decide the winner in the minds of most gamers, but I have my eye on usability and innovation.
We know that these systems are both capable of amazing graphics, amazing gameplay, amazing quality. Now with most game publishers porting their titles to every console it doesn't even matter what system you buy the game for, the draw becomes what you can do with your console that the other console can't. We don't know exactly how each company will utilize their attributes. At this stage in the game the Xbox 360 has me much more excited then the Playstation 3, simply because they are taking consoles and "gaming" in a completely new direction.
Integration and interconnectivity will be imperative in the next-gen console race, and the company that can master these concepts will prove the victor of the next console war. Sony has the power and the underlying technology to make a move on the well established Xbox Live and the idea of interconnectivity, but I have a feeling their eyes are focused on numbers and graphs instead of on innovation. They have managed to destroy systems based solely on their software and relative power in the past, but this next battle will be less about the aesthetics of gameplay and more about the way you play the game.
Monday, May 09, 2005
Do you like to hurt?
Bright Eyes with The Faint, and Special Guests Her Space Holiday
Digital Ash In A Digital Urn Tour
The Showbox - Seattle, WA
May 8, 2005
Set List
Tonight I had the pleasure of seeing Conor Oberst and his motley and ever changing backing band, play in support of "Digital Ash In A Digital Urn"; one of two full length releases which launched sometime in January. The Faint opened - several of the members including the drummer, bassist, and keyboardist played behind Oberst for the Bright Eyes set - with a pretty astonishing reception from the crowd. As usual the attendants were the only thing between myself and a good time, but I did my best to focus on the artists instead of the spastic black clones that surrounded me. It was hard, but I managed.
The Faint had everybody dancing. I'm still not sure if that was a good thing or a bad thing, I tend to lean toward the latter. I've decided that there should be rules for conducting yourself at a concert - or anywhere really. The cardinal rule, so to speak, would be abstaining from any activity which could potentially disrupt or ruin the experience of another attendant. I would call staring at the floor, throwing arms about and into the air, major disruptions to my experience. Don't get me wrong, dancing is well and good (for those who enjoy it), but when you aren't even watching the band perform what's the point of being at the concert? Couldn't you just throw the disc in and start dancing around your bedroom, would that not be the exact same thing? A concert is for watching performers, not for standing in a circle with your girlfriends singing along like it's Britney Spears or any other top 40 artist.
After an hour and a half the Faint stopped playing. They covered a Neutral Milk Hotel song, "Holland, 1945", which basically gives them instant credibility in my book. The only thing that wasn't cool about the cover is that they didn't really make it their song, it wasn't much different from the original version. While a cover doesn't necessarily require changes, I think a band like the Faint could have done an interesting interpretation in their style. Another problem was that the singer forgot the lyrics. Anyway, after an hour and a half the Faint finally concluded their set, and the wait for Conor Oberst began.
After what seemed like an eternity (somewhere in the ballpark of forty minutes) the band - keyboarist, basist, two drummers, trumpet player, two guitarists (including Nick Zinner of the Yeah Yeah Yeahs rocking a Gretsch, barely visible behind the trumpet player and some equipment)/ keyboardist / moog players, a violinist, and a celloist (Gretta Cohn of Cursive) - took the stage and started Time Code without Oberst on stage, as a projected movie counted down to his arrival. When the black, thin, pale figure finally was visible a wave of prebuscent cheers enveloped the audience. The show had begun.
Most people I talk to about "Digital Ash In A Digital Urn" don't like it, especially in comparison to "I'm Wide Awake It's Morning," and to them I say . . . well I'm not entirely certain what I say, but I think both records are wonderful. While "I'm Wide Awake" tends to be an optimistic call for change and political examination, "Digital Ash" is an existential and introspective record. I've seen Oberst three times this year; twice in Texas and now once in Seattle. Surprinsingly, the shows in Texas felt much more interactive, and lively.
Conor said very little between songs, besides brief summaries of song meanings or to utter a thank you. There was nothing else said, and while he wasn't visibly drunk as he was in Dallas, he seemed completely despondent and lifeless. While I don't personally care what he does on stage I tend to enjoy his drunken quips and occasional banter with the crowd. It felt as if he really wasn't playing for anybody but himself tonight and that's what made this concert something special to see. It was some kind of exorcism, a cathartic release, and we were all along for the ride.
Throughout his set he played two old songs: "Neely O'Hara" from the "Every Day And Every Night" EP, and "Lover I Don't Have To Love" from "Lifted Or The Story Is In The Soil Keep Your Ear To The Ground." Which were the only two songs I really expected him to play - since those are the only non B-Side (like "Burn Rubber" or "Cremation") tracks which would compliment the "Digital Ash" tracks. He changed the lyrics to both songs, and changed the structure of "Neely O'Hara" - which was very cool. The lyric changes in "Lover I Don't Have To Love" seemed to reflect Oberst's self loathing; instead of being the victim he now feels he's no different from everyone else.
Since I like "Digital Ash" I loved the show - the crowd honestly didn't seem so enthused. There were periodic requests for "Lua," despite there being no acoustic guitars in sight, and despite the fact he has already toured in support of "I'm Wide Awake." It really felt like people were there to see him, they didn't really care what he was playing - and they obviously didn't realize he was supporting "Digital Ash," and no folk songs were going to be played. That's the problem with Bright Eyes, people like him for the wrong reason. Girls want to fuck him and guys want to be him, never really taking the time to listen what he's trying to say. I concede that I would like to be like him, but I want to be like him for a completely different reason. Bright Eyes isn't about being cool or fighting in with the indie kid crowd, Oberst isn't just another sad guy with a guitar and a pen.
The message is there, but there are no ears to the ground . . .
BE ON THE LOOKOUT: Pictures forthcoming if the computer gods allow it. Thanks go to Ed and his mighty little camera for those.
Digital Ash In A Digital Urn Tour
The Showbox - Seattle, WA
May 8, 2005
Set List
Tonight I had the pleasure of seeing Conor Oberst and his motley and ever changing backing band, play in support of "Digital Ash In A Digital Urn"; one of two full length releases which launched sometime in January. The Faint opened - several of the members including the drummer, bassist, and keyboardist played behind Oberst for the Bright Eyes set - with a pretty astonishing reception from the crowd. As usual the attendants were the only thing between myself and a good time, but I did my best to focus on the artists instead of the spastic black clones that surrounded me. It was hard, but I managed.
The Faint had everybody dancing. I'm still not sure if that was a good thing or a bad thing, I tend to lean toward the latter. I've decided that there should be rules for conducting yourself at a concert - or anywhere really. The cardinal rule, so to speak, would be abstaining from any activity which could potentially disrupt or ruin the experience of another attendant. I would call staring at the floor, throwing arms about and into the air, major disruptions to my experience. Don't get me wrong, dancing is well and good (for those who enjoy it), but when you aren't even watching the band perform what's the point of being at the concert? Couldn't you just throw the disc in and start dancing around your bedroom, would that not be the exact same thing? A concert is for watching performers, not for standing in a circle with your girlfriends singing along like it's Britney Spears or any other top 40 artist.
After an hour and a half the Faint stopped playing. They covered a Neutral Milk Hotel song, "Holland, 1945", which basically gives them instant credibility in my book. The only thing that wasn't cool about the cover is that they didn't really make it their song, it wasn't much different from the original version. While a cover doesn't necessarily require changes, I think a band like the Faint could have done an interesting interpretation in their style. Another problem was that the singer forgot the lyrics. Anyway, after an hour and a half the Faint finally concluded their set, and the wait for Conor Oberst began.
After what seemed like an eternity (somewhere in the ballpark of forty minutes) the band - keyboarist, basist, two drummers, trumpet player, two guitarists (including Nick Zinner of the Yeah Yeah Yeahs rocking a Gretsch, barely visible behind the trumpet player and some equipment)/ keyboardist / moog players, a violinist, and a celloist (Gretta Cohn of Cursive) - took the stage and started Time Code without Oberst on stage, as a projected movie counted down to his arrival. When the black, thin, pale figure finally was visible a wave of prebuscent cheers enveloped the audience. The show had begun.
Most people I talk to about "Digital Ash In A Digital Urn" don't like it, especially in comparison to "I'm Wide Awake It's Morning," and to them I say . . . well I'm not entirely certain what I say, but I think both records are wonderful. While "I'm Wide Awake" tends to be an optimistic call for change and political examination, "Digital Ash" is an existential and introspective record. I've seen Oberst three times this year; twice in Texas and now once in Seattle. Surprinsingly, the shows in Texas felt much more interactive, and lively.
Conor said very little between songs, besides brief summaries of song meanings or to utter a thank you. There was nothing else said, and while he wasn't visibly drunk as he was in Dallas, he seemed completely despondent and lifeless. While I don't personally care what he does on stage I tend to enjoy his drunken quips and occasional banter with the crowd. It felt as if he really wasn't playing for anybody but himself tonight and that's what made this concert something special to see. It was some kind of exorcism, a cathartic release, and we were all along for the ride.
Throughout his set he played two old songs: "Neely O'Hara" from the "Every Day And Every Night" EP, and "Lover I Don't Have To Love" from "Lifted Or The Story Is In The Soil Keep Your Ear To The Ground." Which were the only two songs I really expected him to play - since those are the only non B-Side (like "Burn Rubber" or "Cremation") tracks which would compliment the "Digital Ash" tracks. He changed the lyrics to both songs, and changed the structure of "Neely O'Hara" - which was very cool. The lyric changes in "Lover I Don't Have To Love" seemed to reflect Oberst's self loathing; instead of being the victim he now feels he's no different from everyone else.
Since I like "Digital Ash" I loved the show - the crowd honestly didn't seem so enthused. There were periodic requests for "Lua," despite there being no acoustic guitars in sight, and despite the fact he has already toured in support of "I'm Wide Awake." It really felt like people were there to see him, they didn't really care what he was playing - and they obviously didn't realize he was supporting "Digital Ash," and no folk songs were going to be played. That's the problem with Bright Eyes, people like him for the wrong reason. Girls want to fuck him and guys want to be him, never really taking the time to listen what he's trying to say. I concede that I would like to be like him, but I want to be like him for a completely different reason. Bright Eyes isn't about being cool or fighting in with the indie kid crowd, Oberst isn't just another sad guy with a guitar and a pen.
The message is there, but there are no ears to the ground . . .
BE ON THE LOOKOUT: Pictures forthcoming if the computer gods allow it. Thanks go to Ed and his mighty little camera for those.
Thursday, May 05, 2005
Thickfreak This
The Black Keys: sounds of the past, for the future
Every time I turn on the radio or my television, I am suddenly struck with panic: is this music? Do we call this art, or even creativity? How many versions of the same band must there be—yes, I’m looking at you mall punk, nu metal, “rap,” and even “indie” rock. When I ponder these questions I become utterly depressed by the sheer vapidity of the popular music scene, and the “people” who sincerely like it. But it only takes one band like The Black Keys to restore my faith in creative forces and ingenuity in music.
The Black Keys are like nothing you’ve ever heard; at least not in your lifetime. Armed with only a drum set and a guitar, the Black Keys are a duo with more energy and inspiration then most four or three piece bands, and are impressive upon juxtaposition. The critical acclaim they’ve received from magazines, like Spin or Rolling Stone, and peers – like the Olympia based indie rock band Sleater-Kinney, who took them on tour in 2003 - is enough to turn your head. But it’s not enough for most readers or bystanders to seek the band out and give them a serious listen.
This is your cue to start listening.
There’s almost nothing you can lose, and I would wager my musical reputation on them. The band couldn’t be more accessible; they borrow from guitar legends like Hendrix but manage to maintain equilibrium through simplicity, rooted largely in traditional blues rock. There is nothing pretentious or ostentatious here. Their latest full length release, Rubber Factory, will set you back a mere twelve dollars in most record stores – even monolithic corporate chains like Virgin Megastore. Tickets to their show were only twelve dollars, and I can tell you one thing; that is arguably the best twelve dollars I have ever spent.
If you really appreciate music and consider bands to be artists, not products, then you will feel your dulled senses snap back to reality once you hear a Black Keys track. You will suddenly realize why you like music in the first place, and why artists like this deserve every penny they get, and why they can never be compared to the drivel on television. These two guys have more heart and soul then any band I have ever seen, and it is your duty as a human being to give them the credit they deserve.
Catch a show or buy a record, support talent. Trade in that Snow Patrol CD – or if you want to do the entire world a favor destroy them in the best way you see fit – find some money somewhere (the couch is often a treasure trove of loose change) and buy just one record or EP. It’s time to reject the radio and MTV; yes, some of you are entering uncharted waters, but the possibility that you just might find something worthwhile in that bleak sea of sound is worth the effort. Even if you don’t find something you like at least you were making the choice, instead of trying to keep your head above water.
Tuesday, April 26, 2005
Snow Patrol - A Band That Shouldn't Be
After reading countless articles or reviews, and hearing countless accolades from friends in support of the up and coming band, Snow Patrol, I was expecting one hell of a super group. What I got was probably the most derivative, cliché, and gimmick laden group this side of the entire fucking galaxy. If it was possible to sleep standing up it would have been the best alternative to actually being there, since at least when you sleep you don’t have to listen to some mongoloid from Scotland praising the current state he’s in and saying “y’all.” If you like Snow Patrol and credit them as “indie rock” or “the next big thing” I’m sorry, you have no taste in music, in fact, I would wager you are at the very least partially deaf. Snow Patrol’s only redeeming quality is their brief catalog of music—that they actually choose to acknowledge—which limits the duration of their concerts.
Snow Patrol is a band you are probably just hearing about - even if the first album you've ever seen in stores is actually their third full length release (with a myriad of EP’s and singles as well). Funny, I don't remember hearing about this band before 2004—ever—and this IS that HOT new band I’ve been hearing SO much about. When you listen to this “band” you start to wonder if it’s really a band at all; if these three or four (or however many) guys really care about the music or if they are a manufactured product. Well, we might finally have an answer to that question.
Snow Patrol’s first two full length records were released on Jeepster, a small, relatively obscure label home to a band that doesn’t sound like everything else: Belle & Sebastian. Care to take a guess as to what label their “critically acclaimed breakout record” was released on? Yes, it is a major American corporate entity. Why yes, they did release Lindsay Lohan’s last record—to use the term record loosely. Snow Patrol released their hit record with the backing of Universal Records, and the sense of overproduction is overwhelming. I haven’t even listened to the album, but if their performance was any indication it is clear they are nothing without their studio.
The bane of a major label contract is overproduction. Snow Patrol are attempting to play some dream pop or pseudo shoegaze, they’ve even been compared to My Bloody Valentine, but for whatever reason they felt the need to use effects and a sampler, which do nothing for their formulaic, water downed, poor mans “modern rock.” Whatever genre they are trying to play, or consider themselves a part of, they only sound like one genre live: generic pop. The band plays on stage with somewhere in the neighborhood of a billion flashing lights; exploding in an orgy of discombobulated epileptic nightmare behind the pale white band members. As any magician knows, it’s all about misdirection—the smoke and mirrors were fooling the entire audience; throwing their hands in the air as if this orgasmic lightshow and goofy smiling was an amazing spectacle to behold, as if the band had somehow turned the dirty water that is their music into the finest of wines.
Since I haven’t listened to their latest record—and never will—I can only guess as to the meaning of the lyrics of the songs, and why I felt as if I was participating in a twisted telethon to raise money for Southern Baptists in need of a constant war against homosexuals or some other ecclesiastical affair. While there was no clear lyrical agenda, I couldn’t shake the feeling that Gary Lightbody—even his name sounds like some Christian evangelist; staring intently in your eyes through a television, sweating profusely, poised to sell us something that might cure cancer or reinstate an Anglo hegemony—was putting on a Christian Rock concert at the expense of every lighthearted and naïve attendee. Even when his lyrics made no sense, or were just ridiculous—such as my favorite line, “God only knows what Brian Wilson was thinking…”—the crowd seemed to go wild, waving their hands in the air at their messiah. Was anybody actually listening to the words of the song? Was anybody even listening to the song, for that matter? This guy could have been confessing a string of serial rapes and murders while picking his teeth clean of human bone fragments, nobody would have noticed.
It’s the kind of music that can’t offend anybody because there’s no substance to it; it’s a bunch of guys going through the motions of caring about their music and their message. I guess if I had somehow convinced the entire world my band was something special I would probably ride the wave too, because what’s the point of having a message and making awesome music when you don’t get a fat check at the end of the day? If anybody actually listened to what Gary Lightbody and the rest of his band was saying it would be impossible to like the band. Nothing they're saying has any weight, nothing about them has gravity. They’re just floating through the music industry making a “splash” thanks to a couple extra thousands of dollars in the studio and a serialized aesthetic. Snow Patrol is just an image, with ironic T-Shirts admonishing drug use while simultaneously singing a song with references to ecstasy; it’s a façade.
That’s the very nature of Snow Patrol; they aren’t really a band—at least not anymore. They’re just a product and an image: with flashing lights and pretty colors, with minimal epithets, and songs referencing Brian Wilson. Without a producer mixing their product the songs all begin to bleed into one another, and at that point, the bright lights and eerily jovial Europeans attempt to make up for the lack in audial quality. It’s the age old trick of misdirection, and boy did it ever work on a sold out crowd in Dallas this evening. Thankfully Snow Patrol will eventually fade into obscurity, and the next big thing will replace them. A different name, the same sound, and that all too loving crowd will be back in Dallas waving their hands for their new God, whether they realize it or not.
Snow Patrol is a band you are probably just hearing about - even if the first album you've ever seen in stores is actually their third full length release (with a myriad of EP’s and singles as well). Funny, I don't remember hearing about this band before 2004—ever—and this IS that HOT new band I’ve been hearing SO much about. When you listen to this “band” you start to wonder if it’s really a band at all; if these three or four (or however many) guys really care about the music or if they are a manufactured product. Well, we might finally have an answer to that question.
Snow Patrol’s first two full length records were released on Jeepster, a small, relatively obscure label home to a band that doesn’t sound like everything else: Belle & Sebastian. Care to take a guess as to what label their “critically acclaimed breakout record” was released on? Yes, it is a major American corporate entity. Why yes, they did release Lindsay Lohan’s last record—to use the term record loosely. Snow Patrol released their hit record with the backing of Universal Records, and the sense of overproduction is overwhelming. I haven’t even listened to the album, but if their performance was any indication it is clear they are nothing without their studio.
The bane of a major label contract is overproduction. Snow Patrol are attempting to play some dream pop or pseudo shoegaze, they’ve even been compared to My Bloody Valentine, but for whatever reason they felt the need to use effects and a sampler, which do nothing for their formulaic, water downed, poor mans “modern rock.” Whatever genre they are trying to play, or consider themselves a part of, they only sound like one genre live: generic pop. The band plays on stage with somewhere in the neighborhood of a billion flashing lights; exploding in an orgy of discombobulated epileptic nightmare behind the pale white band members. As any magician knows, it’s all about misdirection—the smoke and mirrors were fooling the entire audience; throwing their hands in the air as if this orgasmic lightshow and goofy smiling was an amazing spectacle to behold, as if the band had somehow turned the dirty water that is their music into the finest of wines.
Since I haven’t listened to their latest record—and never will—I can only guess as to the meaning of the lyrics of the songs, and why I felt as if I was participating in a twisted telethon to raise money for Southern Baptists in need of a constant war against homosexuals or some other ecclesiastical affair. While there was no clear lyrical agenda, I couldn’t shake the feeling that Gary Lightbody—even his name sounds like some Christian evangelist; staring intently in your eyes through a television, sweating profusely, poised to sell us something that might cure cancer or reinstate an Anglo hegemony—was putting on a Christian Rock concert at the expense of every lighthearted and naïve attendee. Even when his lyrics made no sense, or were just ridiculous—such as my favorite line, “God only knows what Brian Wilson was thinking…”—the crowd seemed to go wild, waving their hands in the air at their messiah. Was anybody actually listening to the words of the song? Was anybody even listening to the song, for that matter? This guy could have been confessing a string of serial rapes and murders while picking his teeth clean of human bone fragments, nobody would have noticed.
It’s the kind of music that can’t offend anybody because there’s no substance to it; it’s a bunch of guys going through the motions of caring about their music and their message. I guess if I had somehow convinced the entire world my band was something special I would probably ride the wave too, because what’s the point of having a message and making awesome music when you don’t get a fat check at the end of the day? If anybody actually listened to what Gary Lightbody and the rest of his band was saying it would be impossible to like the band. Nothing they're saying has any weight, nothing about them has gravity. They’re just floating through the music industry making a “splash” thanks to a couple extra thousands of dollars in the studio and a serialized aesthetic. Snow Patrol is just an image, with ironic T-Shirts admonishing drug use while simultaneously singing a song with references to ecstasy; it’s a façade.
That’s the very nature of Snow Patrol; they aren’t really a band—at least not anymore. They’re just a product and an image: with flashing lights and pretty colors, with minimal epithets, and songs referencing Brian Wilson. Without a producer mixing their product the songs all begin to bleed into one another, and at that point, the bright lights and eerily jovial Europeans attempt to make up for the lack in audial quality. It’s the age old trick of misdirection, and boy did it ever work on a sold out crowd in Dallas this evening. Thankfully Snow Patrol will eventually fade into obscurity, and the next big thing will replace them. A different name, the same sound, and that all too loving crowd will be back in Dallas waving their hands for their new God, whether they realize it or not.
Saturday, April 23, 2005
Is this it?
Medio Victim, one of many cool shirts from Threadless
I found an interesting garment manufacturer printing some pretty chic t-shirts. If you are in the market for some cool clothes take a look here, chances are pretty good nobody you know will have the same shirt - unlike the shirts Urban sells...
Tuesday, April 19, 2005
"How cold your body can be"
I've been a huge fan of the Anniversary since 11th grade, and the lack of tabs on the internet makes me sad. I've tabbed this song out because my brother is starting to learn guitar and really wants to learn this song. If anybody is familiar with guitar, the Anniversary, this song, or anything else that could help me get this right, please post a comment or contact me with any corrections. I will add the disclaimer that this is my first tab - although I did tab a Bright Eyes song, "Everything Must Belong Somewhere," with few descrepencies to a version I found online.
Edit: Apparently the alignment was basically destroyed when I posted this. For a properly aligned version look here.
Edit: I've recorded enough of my tab to form a comparison, listen to it and compare it with the original and let me know what you think. ( I recorded my version with a computer mic which is part of a pair of headphones. In other words, sorry about my breathing but the mic was right next to my face. )
The Anniversary
"Sweet Marie" Chords
Standard Tuning
C - 032010
E - 022100
E7 - 020100
E7* - 022130
F - 133211
Am - 002210
Asus2 - 000220
Dm - 000231
Verse I
C E7 F C
Sweet Marie, there's a hole where your heart should be
C E7 F C
And on the hill she's begging for a harmony
C E7 F C
Sweet Marie, there's a hole where your heart should be
C E7 F C
And on the hill she's begging for a harmony
C E7 F C
What beautiful lies you've been told
C E7 F C
What terrible truths drown your soul
Chorus
E F C Am Asus2 Am
She hides behind all my lies
Dm E7* Am Asus2 Am
Oh you need to be loved
Dm E7* Am Asus2 Am
Oh you need to be loved
Dm E7* F C F
Oh you need all my love tonight - all my love
Verse II
C E7 F C
Sweet Marie, how cold your body can be
C E7 F C
And on the hill she's begging for a harmony
C E7 F C
Such a beautiful kiss in the face of fear
C E7 F C
Such a beautiful song burns through your ears
Chorus
E F C Am Asus2
She hides behind all my lies
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* F C F
Oh you need all my love tonight - all my love
Solo
C E7 F C
C E7 F C
C E7 F C
C E7 F C
Bridge
Dm E7* Am Asus2
Dm E7* F C F
Chorus
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am
Oh you need...
Edit: Apparently the alignment was basically destroyed when I posted this. For a properly aligned version look here.
Edit: I've recorded enough of my tab to form a comparison, listen to it and compare it with the original and let me know what you think. ( I recorded my version with a computer mic which is part of a pair of headphones. In other words, sorry about my breathing but the mic was right next to my face. )
The Anniversary
"Sweet Marie" Chords
Standard Tuning
C - 032010
E - 022100
E7 - 020100
E7* - 022130
F - 133211
Am - 002210
Asus2 - 000220
Dm - 000231
Verse I
C E7 F C
Sweet Marie, there's a hole where your heart should be
C E7 F C
And on the hill she's begging for a harmony
C E7 F C
Sweet Marie, there's a hole where your heart should be
C E7 F C
And on the hill she's begging for a harmony
C E7 F C
What beautiful lies you've been told
C E7 F C
What terrible truths drown your soul
Chorus
E F C Am Asus2 Am
She hides behind all my lies
Dm E7* Am Asus2 Am
Oh you need to be loved
Dm E7* Am Asus2 Am
Oh you need to be loved
Dm E7* F C F
Oh you need all my love tonight - all my love
Verse II
C E7 F C
Sweet Marie, how cold your body can be
C E7 F C
And on the hill she's begging for a harmony
C E7 F C
Such a beautiful kiss in the face of fear
C E7 F C
Such a beautiful song burns through your ears
Chorus
E F C Am Asus2
She hides behind all my lies
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* F C F
Oh you need all my love tonight - all my love
Solo
C E7 F C
C E7 F C
C E7 F C
C E7 F C
Bridge
Dm E7* Am Asus2
Dm E7* F C F
Chorus
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am Asus2
Oh you need to be loved
Dm E7* Am
Oh you need...
Saturday, April 16, 2005
Creating Comic Book Effects With Photoshop
Scarlett Johansson, pretty as a picture
As you can see, this is a comparison of a picture before the photoshopping procedure and then after. This is a really great effect and I'm pleased with how this particular picture turned out. If you have photoshop check out the tutorial courtesy of MAKE:Blog.
Sunday, April 03, 2005
Sin City - The Film Noir You Should Be Talking About
Sin City, Robert Rodriguez's most tolerable film yet
This movie was almost everything I thought it wouldn't be. To be honest, as soon as I found out that Rodriguez was directing I was bracing myself for a complete let down, this is the guy who made Once Upon A Time In Mexico; the most over the top, style over substance, action fest of a film. Oh yeah, he also wrote and directed every Spy Kids movie to date. Needless to say, his record has been a testament to his failure as a film maker. This was something completely different, but it's pretty clear why.
The reason this movie is a success is mostly because Rodriguez decided to use Frank Miller's established stories instead of adapting them to create his own interpretation. He couldn't make mistakes because the graphic novels were perfect story boards. Upon comparison, Rodriguez does a stellar job at recreating the comic book frames. This approach in making a film based on a comic book has largely been ignored in the past, and most of those movies have been lackluster or completely horrendous - like "The Hulk."
As for the film aesthetic, the digital approach worked for this movie. I didn't like the way this tehnique was implemented in "Sky Captain," but for some reason it worked for this movie - probably because it's based on a comic book and gave it a comic book feel. Obviously this type of film making has its pit falls, and there were several shots that didn't look right at all. Ultimately the film doesn't suffer from those brief shortcommings. The use of black and white gave it the noir feel while the occasional bursts of color added life to the dark streets of Sin City. I was totally expecting the digital effects to be the down fall of the film, assuming Rodriguez hadn't fucked it up, but the only major problem was solid performances from the cast.
The talent that they were able to get for this film is unbelievable. There were so many big name actors, it was really mind blowing (obviously celebrity doesn't automatically infer talent). There seemed to be a few actors who weren't convincing at all, and it's painful to watch them deliver their lines. The majority of the actors definitely were acting, but there were a few which were terrible throughout the film.
I would say if you haven't seen this movie go out and see it in the theater. If you aren't a fan of comic books, violence, black and white films, or digital film production you might want to stay clear of this one. This isn't just an action movie, so try to pay attention to themes - they are much more relevant then we might wish to admit.
Friday, April 01, 2005
A Google Approach To Math
Google is offering a school yard legend in storage, infinity + 1
Google, creators of the much lauded Gmail, are offering additional storage to their Gmail members; infinity plus one. Ok, that's an April Fools joke, but they really are bumping it up to 2 gb.
active, flowering, or flourishing in the evening
I've had a domain for two years that I never could figure out how to use. Well, I knew what my options were: I could set up my own server on my network - which is technically against most service providers regulations, or I could pay a third party to host my website. At the time I thought it was an awesome idea to try to host it myself, the problem was I could never wrap my head around using servers correctly in a Linux environment - or any other environment, for that matter. So, after two years, I have finally caved in. I have acquired a webhost for my domain.
I'd been thinking alot recently about working with a website which wasn't limited by advertisements, bandwith, space, or any of the other vicissitudes "free providers" are characterized with. I wanted a place where I could consolidate things I was doing, and facilitate conversation and interaction between people. I wanted a place where I could write some code that ran on a webserver. I wanted a place to grow; in skill and maybe even marketability.
That place is ReadySetConnect. The same host used by the tech celebrities of the Broken (Kevin Rose, Dan Huard, Ramzi). The fact that they were using the same host isn't the reason why I ultimately chose ReadySetConnect, I was looking for an affordable and reputable provider. ReadySetConnect fit the bill. It's about as expensive as World of Warcraft, and much much much much more rewarding.
So, if you read this and you'd like to be involved in the project just let me know because I'll be happy to work with you - most likely. Until this weekend don't expect any further information regarding the website, as it's not exactly an easy task creating one (that's worth a damn).
I'd been thinking alot recently about working with a website which wasn't limited by advertisements, bandwith, space, or any of the other vicissitudes "free providers" are characterized with. I wanted a place where I could consolidate things I was doing, and facilitate conversation and interaction between people. I wanted a place where I could write some code that ran on a webserver. I wanted a place to grow; in skill and maybe even marketability.
That place is ReadySetConnect. The same host used by the tech celebrities of the Broken (Kevin Rose, Dan Huard, Ramzi). The fact that they were using the same host isn't the reason why I ultimately chose ReadySetConnect, I was looking for an affordable and reputable provider. ReadySetConnect fit the bill. It's about as expensive as World of Warcraft, and much much much much more rewarding.
So, if you read this and you'd like to be involved in the project just let me know because I'll be happy to work with you - most likely. Until this weekend don't expect any further information regarding the website, as it's not exactly an easy task creating one (that's worth a damn).
"I bet I could throw this football over them mountains"
I came across this while reading Thighs Wide Shut, and while I usually don't find this type of video that funny. This was. Somebody took the infamous "Numa Numa" song and has matched it with the Napolean Jamiroquai dance footage. Check it out if you are into Napolean Dynamite, dancing, and pop songs sung in different languages.
In more serious news, Ben (Smash) of Smash's World has created a free wallpaper and picture service for many mobile phones and carriers. This comes as and addition to his famous Smash The Tones which was featured on G4's The Screen Savers - or whatever the fuck the network executives are calling that show this week. Check it out, and if you're feeling generous donate some money to him.
In more serious news, Ben (Smash) of Smash's World has created a free wallpaper and picture service for many mobile phones and carriers. This comes as and addition to his famous Smash The Tones which was featured on G4's The Screen Savers - or whatever the fuck the network executives are calling that show this week. Check it out, and if you're feeling generous donate some money to him.
Thursday, March 31, 2005
"This is the first day of my life . . ."
Conor Oberst, the man of the hour
The video for "First Day of My Life," from Bright Eyes' latest full length record "I'm Wide Awake It's Morning," has been released to major success. Saddle Creek Records is reporting it's the number one video on MTV's Hot Five Videos.
Watch the video here.
Wednesday, March 30, 2005
MOOX: Firefox Builds
If you're still using old, tired, insecure Internet Explorer, it's time you switched over to the darker side. While Mozilla Firefox is nothing new, it's a movement that is rapidly gaining on the market share of the ubiquitous IE. Firefox is one of the first serious competitors to the staus quo in web browsers. Firefox is open source which is a major plus - when exploits and vulnerabilities are found they are fixed exponentially faster then any response Microsoft would release. Firefox is supported by a wide range of developers constantly changing and optimizing the code, leading some third party developers to offer optimized accelerated builds.
While the standard Firefox is well and good, for those more adventurous there are customized tweaked builds. The most popular distributor is MOOX - who offers performance enhanced versions of other Mozilla products like the Outlook killer, Thunderbird. The best part about the Firefox builds are the various releases, each corresponding to CPU architecture.
There are four tweaked versions of the current stable trunk (nightly builds) and the current official point releases. The four versions of each release are specifically tailored for hardware. The first release, M0 is a performance enchanced version of Firefox requiring no special hardware - meaning it can run on any computer. The second release, M1, is optimized for CPU's supporting MMX technology - old, but still relevant. The M2 build is optimized for processors that support SSE technology like the Athlon XP and Intel Pentium 3 lines. The final build, the M3, is designed to support the latest hardware and technology - think Pentium 4 and AMD FX.
Give these builds a try, they will outperform Internet Explorer without a doubt. If you are feeling uneasy about downloading tweaked and technically unsupported software then give the standard Mozilla release a try. The extensions and themes should keep you pretty happy for awhile, but it's the tabbed windows that will change the way you think about browsing the internet.
Make the switch today.
While the standard Firefox is well and good, for those more adventurous there are customized tweaked builds. The most popular distributor is MOOX - who offers performance enhanced versions of other Mozilla products like the Outlook killer, Thunderbird. The best part about the Firefox builds are the various releases, each corresponding to CPU architecture.
There are four tweaked versions of the current stable trunk (nightly builds) and the current official point releases. The four versions of each release are specifically tailored for hardware. The first release, M0 is a performance enchanced version of Firefox requiring no special hardware - meaning it can run on any computer. The second release, M1, is optimized for CPU's supporting MMX technology - old, but still relevant. The M2 build is optimized for processors that support SSE technology like the Athlon XP and Intel Pentium 3 lines. The final build, the M3, is designed to support the latest hardware and technology - think Pentium 4 and AMD FX.
Give these builds a try, they will outperform Internet Explorer without a doubt. If you are feeling uneasy about downloading tweaked and technically unsupported software then give the standard Mozilla release a try. The extensions and themes should keep you pretty happy for awhile, but it's the tabbed windows that will change the way you think about browsing the internet.
Make the switch today.
Rock The Dreamcast, Literally
Hackaday has just posted one of the coolest hacks of their short history. The hack you ask? Modifying a Sega Dreamcast into a functional guitar amp! How fucking cool is that? While this specific tutorial demolishes the Dreamcast, it would be possible, with a little work, to make a functional Dreamcast and a working guitar amp. Check it out.
Tuesday, March 29, 2005
A New Case For Some Old Hardware
I'll try not to make a habit of writing about things I've just purchased, but this is cool and I thought I'd show it off.
I just bought this case last night because my giant blue case has broken, the front gate has broken off and no longer stays in place. The new case lacks a gate, so I guess there won't be any problems with my knees bashing it into disrepair...
This new case comes with a fan control knob and temperature display, as well as front accessable USB ports and FireWire ports - which as anybody with iPods or printers know, are quite handy. It was cheap - probably because it didn't come with a power supply - but it is going to be pretty cool when it finally arrives.
I thought about purchasing some other things, since my computer is somewhat outdated, but new technology is still far too expensive. Video cards that would significantly make a difference to quality from my current GeForce FX 5600 are in the $200 range. Motherboard and CPU bundles of the AMD 64 socket 939 persuassion are still on average above $300. They rarely include motherboards which are good quality, and many lack some of the new cutting edge interfaces and features - like PCI Express and Gigabit Lan.
Once the new 512 mb cards are relased by Nvidia and ATI a price drop in video cards is sure to occur, and the way AMD and Intel are putting out processors I can only imagine more significant drops to come. Maybe this summer I'll be able to update the hardware again, because my P4 2.8 ghz machine is garbage for gaming and is highly unstable. While this is probably more of a device driver problem, I like blaming it on my motherboard and Intel, since my AMD XP 2600 never gave me any problems. If I updated, I could then have three running machines, which may sound insane, but it's a definite plus because they would each serve a purpose.
The P4 Prescott is my current desktop computer, and while it operates fine for the most part it has been known to cause random, unexplainable, errors. The AMD XP 2600 is functioning as a file server to the computers and Xbox on my LAN, it is also running an FTP server. I have recently started doing some video editing, which requires a powerful CPU and a lot of RAM. That seems to be the only thing my P4 is good at. If I updated my system, I could have a cutting edge gaming machine, a relatively cutting edge video editing and multimedia machine, and the old file server - which doesn't require any serious power for my general purposes.
Now if only those prices would drop . . .
I just bought this case last night because my giant blue case has broken, the front gate has broken off and no longer stays in place. The new case lacks a gate, so I guess there won't be any problems with my knees bashing it into disrepair...
This new case comes with a fan control knob and temperature display, as well as front accessable USB ports and FireWire ports - which as anybody with iPods or printers know, are quite handy. It was cheap - probably because it didn't come with a power supply - but it is going to be pretty cool when it finally arrives.
I thought about purchasing some other things, since my computer is somewhat outdated, but new technology is still far too expensive. Video cards that would significantly make a difference to quality from my current GeForce FX 5600 are in the $200 range. Motherboard and CPU bundles of the AMD 64 socket 939 persuassion are still on average above $300. They rarely include motherboards which are good quality, and many lack some of the new cutting edge interfaces and features - like PCI Express and Gigabit Lan.
Once the new 512 mb cards are relased by Nvidia and ATI a price drop in video cards is sure to occur, and the way AMD and Intel are putting out processors I can only imagine more significant drops to come. Maybe this summer I'll be able to update the hardware again, because my P4 2.8 ghz machine is garbage for gaming and is highly unstable. While this is probably more of a device driver problem, I like blaming it on my motherboard and Intel, since my AMD XP 2600 never gave me any problems. If I updated, I could then have three running machines, which may sound insane, but it's a definite plus because they would each serve a purpose.
The P4 Prescott is my current desktop computer, and while it operates fine for the most part it has been known to cause random, unexplainable, errors. The AMD XP 2600 is functioning as a file server to the computers and Xbox on my LAN, it is also running an FTP server. I have recently started doing some video editing, which requires a powerful CPU and a lot of RAM. That seems to be the only thing my P4 is good at. If I updated my system, I could have a cutting edge gaming machine, a relatively cutting edge video editing and multimedia machine, and the old file server - which doesn't require any serious power for my general purposes.
Now if only those prices would drop . . .
"They are supposedly very intelligent, although I've never seen any evidence of it"
Ever wanted to talk to dolphins? Now you can! MAKE:Blog, a division of the new MAKE magazine published by O'Reily, are reporting a group of developers have created an instant message program to talk to sea creatures called Seadragon.
If you want to give it a try download it here.
If you want to give it a try download it here.
Saving Earth On A Cellphone Can Be Hell on Earth For The Developer
Joystiq is reporting that John Carmack, co-owner of id Software and developer of the Doom 3 engine, is working on a cell phone based title of Doom. The game is tentatively titled "DoomRPG."
While the prospects of a Doom title on a mobile phone developed by Carmack (not a third party) are exciting, his thoughts on the limitations of cellphone development are much more interesting. He suggests that the primary limitations of cellphone development are the type of software which is most supported - Java over alternatives like BREW which support C/C++ - and the current sophistication and power of mobile hardware.
The problem with the hardware is a result primarily of the widespread inclusion of Java. The ubiquity of Java severly limits the potential of mobile phones. While Java is a wonderful solution for desktop environments primarly because of portability and the hardware technology - which are typically much faster and advanced when compared to mobile technologies - it proves to be the Achilles Heel of development for mobile phones. This is because Java is an interpretive langauge. In other words, the Java bytecode is interpreted by the Java Virtual Machine and then processed by the operating system. C/C++ and assembly language run directly on the operating system without the need of a mediary interpretor slowing the execution of the code. Java intrinsically operates slower then C/C++ which is a huge problem for game developers. The interpretive nature can cause problems in the way programs behave on other cell phone platforms as well.
Developing games in Java for cellphones often requires builds created for a specific model of phone. The reason is that each cellphone handles the bytecode differently, which can have undesired results at run time. If developers could write code which would directly interface with the hardware instead of running through an interpreter, there would be no need to tailor builds to specific phones (unless a version of the game was designed specifically to implement hardware features of a phone not available in other phone models).
Java limits the sophistication of games that can be developed. While it may be a great tool to develop simple games or become familiar with development on wireless environments, Qualcomm's Binary Runtime for Wireless Environments, or BREW, offers a developer a greater level of complexity and freedom and should become a major player in the mobile market. There is a place for Java, but the inclusion of alternatives will only progress what can be done with cellphones. It's time for manufacturers to embrace change.
You can read more about John Carmack's ideas for mobile development and his thoughts on change at his blog.
While the prospects of a Doom title on a mobile phone developed by Carmack (not a third party) are exciting, his thoughts on the limitations of cellphone development are much more interesting. He suggests that the primary limitations of cellphone development are the type of software which is most supported - Java over alternatives like BREW which support C/C++ - and the current sophistication and power of mobile hardware.
The problem with the hardware is a result primarily of the widespread inclusion of Java. The ubiquity of Java severly limits the potential of mobile phones. While Java is a wonderful solution for desktop environments primarly because of portability and the hardware technology - which are typically much faster and advanced when compared to mobile technologies - it proves to be the Achilles Heel of development for mobile phones. This is because Java is an interpretive langauge. In other words, the Java bytecode is interpreted by the Java Virtual Machine and then processed by the operating system. C/C++ and assembly language run directly on the operating system without the need of a mediary interpretor slowing the execution of the code. Java intrinsically operates slower then C/C++ which is a huge problem for game developers. The interpretive nature can cause problems in the way programs behave on other cell phone platforms as well.
Developing games in Java for cellphones often requires builds created for a specific model of phone. The reason is that each cellphone handles the bytecode differently, which can have undesired results at run time. If developers could write code which would directly interface with the hardware instead of running through an interpreter, there would be no need to tailor builds to specific phones (unless a version of the game was designed specifically to implement hardware features of a phone not available in other phone models).
Java limits the sophistication of games that can be developed. While it may be a great tool to develop simple games or become familiar with development on wireless environments, Qualcomm's Binary Runtime for Wireless Environments, or BREW, offers a developer a greater level of complexity and freedom and should become a major player in the mobile market. There is a place for Java, but the inclusion of alternatives will only progress what can be done with cellphones. It's time for manufacturers to embrace change.
You can read more about John Carmack's ideas for mobile development and his thoughts on change at his blog.
Saturday, March 26, 2005
The Gates of Hell . . .
The Xbox port of the latest incarnation of Doom - Doom 3, for all those who've lost track - was leaked to the internet today. The game isn't scheduled to be released until April 3, but found it's way onto the internet a week early.
This game should breath some life into the Xbox console with the new co-op play, designed specifically for Xbox Live. The capability to play online missions with a friend, or anybody, is a wonderful addition that hopefully more game developers will add - especially Bungie. Id has tailored the co-op game so that the gaming experience is designed with two players in mind, that is, it's not exactly the same as the single player missions. A specific example of the change in dynamic is, in the PC game a player can't fire a gun and shine a flashlight at the same time, meaning that both players can't run and gun. One player will have to light the way. This may not seem too important, but the PC version is notoriously dark. That flashlight is essential, and will probably play the same role in the Xbox port.
Doom 3 for the Xbox should become a model for game developers to follow. Id and Vicarious Visions have made a great PC game an even better console title, adding a feature that is sure to establish a paradigm for game developers in the years to come.
This game should breath some life into the Xbox console with the new co-op play, designed specifically for Xbox Live. The capability to play online missions with a friend, or anybody, is a wonderful addition that hopefully more game developers will add - especially Bungie. Id has tailored the co-op game so that the gaming experience is designed with two players in mind, that is, it's not exactly the same as the single player missions. A specific example of the change in dynamic is, in the PC game a player can't fire a gun and shine a flashlight at the same time, meaning that both players can't run and gun. One player will have to light the way. This may not seem too important, but the PC version is notoriously dark. That flashlight is essential, and will probably play the same role in the Xbox port.
Doom 3 for the Xbox should become a model for game developers to follow. Id and Vicarious Visions have made a great PC game an even better console title, adding a feature that is sure to establish a paradigm for game developers in the years to come.
Thursday, March 24, 2005
Dinosaur Bones
Slashdot is reporting that inside a broken Tyrannasaur bone, blood vessels and bone cells were still intact! How long before we have the entire Tyrannasaurus Rex genome mapped? How long before we have living dinasaurs in zoos?
This is amazing stuff . . .
This is amazing stuff . . .
Tuesday, March 22, 2005
"Multiplayer Map Pack" : Should we have to pay?
According to Team-Xbox, an expansion pack to the smash hit Halo 2 has been confirmed by Electronics Boutique. The pack will be distributed through disc (maybe even Xbox Live) which means it will have some kind of cost. The "Multiplayer Map Pack," as it has been called, will include nine additional maps and "non-playable content."
Is it just me or is this ridiculous?
Why should we have to pay an additional fee for nine maps and some "non-playable content" (which was probably ripped from the Limited Edition supplement disc)? Didn't we already pay $50 dollars for a copy of the sequel to the only game worth playing on Xbox? Should the consumer, who waited years for the game, after countless delays, be forced to buy nine new maps, some of which may not be new at all (an article in EGM displayed pictures of revamped Halo levels like "Hang 'Em High" which were not included in the release)?
PC game creators like Valve, developers of the infamous Half-Life series, provide Deathmatch maps and new weapons for FREE. Why doesn't Bungie and Microsoft follow suit? Updates and expansion via XBL (Xbox Live) are not new by any means, games like Ninja Gaiden have made groundbreaking gameplay alterations and provided the updates FREE of charge to subscribers of XBL. Ubisoft, the creators of Rainbow Six 3, offered a FREE patch that created weapon balance and fixed ranking issues. These are significant updates to the way the games play and they were provided free of charge. So, then, why can't a measly nine maps and some extremely questionable "non-playable content" be offered for free through XBL?
The answer is ubiquity. Halo 2 is owned by millions of people in the United States alone, providing a giant established user base. Because the target marget is so large, this expansion can be sold at a "reasonable" price to the millions of people who are sick of the few redundant maps provided at launch. The map pack can also be used to create incentive for those without the title to purchase a copy. The Halo franchise IS the Xbox. Therefore, Microsoft can inflate the price of Halo franchise titles because it will sell - and in great numbers. This is Microsoft's prerogative, but is it reasonable for an "update" this paltry?
If the new pack contained a patch to balance gameplay, add new maps, add new modes, and non-playable content, then it would be understandable and justifiable to charge money for the product. But, this is not the case and will probably never be the case. The "Mulitplayer Map Pack" will be released, consumed, and enjoyed by nearly every Halo 2 owner no matter the cost. This further empowers Microsoft into the perpetuation of weak game updates for cost, instead of for free. If there is a tangible and visible demand, why provide the service for free? There's no incentive for Microsoft to provide free updates because then they lose out, the consumer is the winner. But, why can't there be a balance in power?
I don't advocate the abolition of updates and expansions which cost money to acquire, I instead advocate the abolition of updates and expansions which are extremely limited and nominal which cost money to aquire. These kind of updates and expansions should be free, but until we stop buying them, they won't stop selling them. It is important that studios and publishers make money for their work, but it's also important that consumers be treated with some respect and dignity. If the updates are significant, instead of superficial, then charge the consumer. When it's a laughable nine maps and some movies of "behind the scenes development" it warrants no cost.
Update: Joystiq provides more information and a price, $19.99
Update: Joystiq confirms cost, and distrubtion method
Update: Microsoft's official press release
Is it just me or is this ridiculous?
Why should we have to pay an additional fee for nine maps and some "non-playable content" (which was probably ripped from the Limited Edition supplement disc)? Didn't we already pay $50 dollars for a copy of the sequel to the only game worth playing on Xbox? Should the consumer, who waited years for the game, after countless delays, be forced to buy nine new maps, some of which may not be new at all (an article in EGM displayed pictures of revamped Halo levels like "Hang 'Em High" which were not included in the release)?
PC game creators like Valve, developers of the infamous Half-Life series, provide Deathmatch maps and new weapons for FREE. Why doesn't Bungie and Microsoft follow suit? Updates and expansion via XBL (Xbox Live) are not new by any means, games like Ninja Gaiden have made groundbreaking gameplay alterations and provided the updates FREE of charge to subscribers of XBL. Ubisoft, the creators of Rainbow Six 3, offered a FREE patch that created weapon balance and fixed ranking issues. These are significant updates to the way the games play and they were provided free of charge. So, then, why can't a measly nine maps and some extremely questionable "non-playable content" be offered for free through XBL?
The answer is ubiquity. Halo 2 is owned by millions of people in the United States alone, providing a giant established user base. Because the target marget is so large, this expansion can be sold at a "reasonable" price to the millions of people who are sick of the few redundant maps provided at launch. The map pack can also be used to create incentive for those without the title to purchase a copy. The Halo franchise IS the Xbox. Therefore, Microsoft can inflate the price of Halo franchise titles because it will sell - and in great numbers. This is Microsoft's prerogative, but is it reasonable for an "update" this paltry?
If the new pack contained a patch to balance gameplay, add new maps, add new modes, and non-playable content, then it would be understandable and justifiable to charge money for the product. But, this is not the case and will probably never be the case. The "Mulitplayer Map Pack" will be released, consumed, and enjoyed by nearly every Halo 2 owner no matter the cost. This further empowers Microsoft into the perpetuation of weak game updates for cost, instead of for free. If there is a tangible and visible demand, why provide the service for free? There's no incentive for Microsoft to provide free updates because then they lose out, the consumer is the winner. But, why can't there be a balance in power?
I don't advocate the abolition of updates and expansions which cost money to acquire, I instead advocate the abolition of updates and expansions which are extremely limited and nominal which cost money to aquire. These kind of updates and expansions should be free, but until we stop buying them, they won't stop selling them. It is important that studios and publishers make money for their work, but it's also important that consumers be treated with some respect and dignity. If the updates are significant, instead of superficial, then charge the consumer. When it's a laughable nine maps and some movies of "behind the scenes development" it warrants no cost.
Update: Joystiq provides more information and a price, $19.99
Update: Joystiq confirms cost, and distrubtion method
Update: Microsoft's official press release
Monday, March 21, 2005
Upcoming.org
Last year when I was searching for the Half Life 2 source, I stumbled upon my favorite - and admittedly my first - blog. That blog is Waxy.Org, and the famous Waxy Links. Although I love those two blogs, it's Andy Baio's Upcoming.Org that has me intrigued.
Upcoming.Org is an online calendar system for various events in major metropolitan areas across the United States and the world. Users can add local venues and events into a database and watch events that interest them. I find this system extremely useful because I tend to forget what's happening around Dallas and Seattle. Having an RSS feed for your events is brilliant. The only downside, in my opinion, is the lack of users. If you're interested , join up and start posting events.
Spread the word.
Upcoming.Org is an online calendar system for various events in major metropolitan areas across the United States and the world. Users can add local venues and events into a database and watch events that interest them. I find this system extremely useful because I tend to forget what's happening around Dallas and Seattle. Having an RSS feed for your events is brilliant. The only downside, in my opinion, is the lack of users. If you're interested , join up and start posting events.
Spread the word.
Subscribe to:
Posts (Atom)
