Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Tuesday, October 20, 2009

Dawn of a New Age

Digital DistributionHello there. I am another one of the (hopefully) interesting bloggers whose work you are going to be reading here. My interests revolve more around the wonders of the digital revolution and the technology that drives it, but I'll also tap into other subjects. Really, over the course of my 'career' here at Chrome Wire I will likely touch upon a little of everything, as everything on this Big Blue Marble is connected in one way or another. So let's get this ride started, shall we?

We are at the dawn of a new age. At least, that's what a few would like for us to believe. This age is a first in the history of humanity, which is usually cyclic and full of repetition. This is an age of instant gratification, all dependent on the speeds you're able to access the Information Superhighway. Welcome, friends, the world of digital distribution.

Everything is going in that direction, and I've heard various ideas of how fast we're going to get there. Some think we will say goodbye to physical media entirely by 2020, while more conservative optimists believe it will take at least another decade or two for that to become a reality. Time is relative, and by that I mean it's entirely dependent on how soon you want to dive into such a future, as it's already here. Between Amazon's Kindle, services like iTunes and the Netflix's download service for the Xbox (which will ultimately expand to other devices – eventually creating a replacement device for the DVD and Blu-Ray player, I'm sure), and Sony's recently released PSP Go, every form of diversion we have will soon be bought, sold, traded, and shared completely as a series of 1's and 0's. Except maybe board games: really, physically taking out an enemy's queen in chess is just too satisfying.

You may find it strange, though, that someone like me isn't looking forward to such a future. Why wouldn't I? I've heard all the promises, from “You'll be able to have access to all your stuff forever!” to “No more having to organize all those DVD and game cases! Imagine all the extra room you'll have!”

Right. Aside from the fact that I love holding the case of a brand new movie or game (really, it helps me accept that what I now have was worth parting with certain green pieces of paper), the above isn't quite accurate. How isn't it? Read on.

Questions of Ownership:
Over the last few years, many people have become aware of the questionable nature of their ownership regarding what they have legally downloaded. Reading the EULA of several services (such as iTunes or the Kindle Store) suggests that you are not buying that song or book, but a 'license of use' for that particular device, with DRM triumphantly making sure you don't illegally play that song on another man's iPod, which is one of the seven deadly sins of the digital world.

Thanks to this lovely fact that you don't actually own what you download, it stands to reason that the party you've bought the license to use from could take it back under any circumstances. Can you imagine a company deleting something you've payed for?

Well, it's already happened. Earlier this year (in July, if I remember correctly), there was something of an occurence. It seems that there was a question regarding the legalities of a few copies of 1984 by George Orwell that had been digitally transmitted to various Kindles around the US. It seems the supplier, MobileReference, didn't have rights to distribute the text here in the States. So Amazon, being the responsible company that it is, promptly reached into people's Kindles and deleted thousands of copies of 1984. The money was refunded, of course, but there was no warning. No notification beforehand. It was like someone from Barnes & Noble breaking into your house and taking back a book you had bought recently. Only it wasn't, because Amazon had the legal rights to do so, thanks to the EULA. You agreed to this when you downloaded it. Welcome to the future!

A similar thing is also applicable to the iPhone App store, though in this case it's there for our protection. Steve Jobs says so, which means we can all rest easy. That man would never lie to us.

Forever?:
With this issue also comes the fact that, in the case of specialized hardware, your items are tied to the device. Using video games as an example here, any SNES on the entire planet can play the SNES games I own. If my SNES dies, I can try my luck at getting it repaired or getting a replacement, and all my SNES games would still work for me. It's like magic. As long as those cartridges work, I'm good to go.

If that classic console only played downloadable games (like the PSP Go), my system breaking would also likely mean I had just lost my entire library. Sure, you can jump through hoops for the company to get your digital rights transferred to your shiny new SNES (or PSP Go), but that SNES can't be a used SNES, because that would be a sin. While DRM security on standard PCs is much easier to get around (allowing your to backup your precious licensed data), doing so makes you a criminal. You're not a criminal, are you?

...what was my second complaint, again? Oh yeah, clutter...

The Magic of Digital Clutter:
Ok, so this isn't really a false promise, as digital clutter is much easier to handle than physical disks piling up to crush your soul with the drudgery of organization. Just create a folder, right click and choose any number of organization methods. Alphabetically? No problem. Try doing that with the hundreds of DVDs you've got lying around.

Even if you're someone who refuses to organize (like me), there's also the search function. Find all your songs, put 'em in a playlist, and save that playlist on your desktop. You will never have to hunt for your music again. Unless, of course, you lose the right to play your DRM'd music for whatever reason. Then you're screwed.

In Conclusion:
The wild world of digital distribution is an enevitable future for humanity. These issues will definitely have to be resolved for it to really succeed in overtaking the entrenched physical world that's been around for thousands of years (in the case of books anyway). Whether it is done by these companies giving us more rights to our downloaded goods or the next generation just accepting that they won't own squat, the solution - and the future - is inevitable. Assuming we're not wiped out by an asteroid soon.

While I didn't cover streaming services much, one thing I'd like to point out that's relatively new is the "cloud computing" model of gaming that's on the horizion. Services like OnLive and Gaikai (I'll write about them another time) are upfront about your lack of ownership, because the entire idea is for you to subscribe to their servers so you can access these games. Nothing is permanently downloaded - the video of the game is streamed to either you computer or a little box, with your response using a controller or keyboard streamed back to the remote server for processing. It's really cool - and defnitely the future, but this kind of service has several issues, most of which go way beyond just ownership and potential loss of access to your games. Perhaps I'll cover this another time.

Monday, October 19, 2009

| S E X M A C H I N E |





Let me introduce myself before I do anything else. I am Chris, born early during the latter half of 1990, I had the opportunity to experience the late 90's with pretty good understanding of what was going on around me. But as far as music goes, my interests were prenatal: Stevie Wonder, Switch, Antonio Jobim, David Bowie, Fela Kuti, and Sugarfoot to name a few. With that said, I'll probably work all of my blog posts to highlight various artists within the spectrums of Jazz, Blues, Soul, Funk, New Jack Swing, Afrobeat, African Music, Hip-Hop, and the stuff that falls in-between, alternating between the contemporary and the classics. Mind you, this will probably be a big focus of the blogs I'll do, but I'm still open to exposing some music in the vein of House, Trip-Hop, Tango, Classical, etc.

This week, I'm going to focus on Mr. Dynamite, the Hardest Working Man in Show Business, Sex Machine, Mr. Please Please Please Her, The Godfather of Soul- Brotha James Brown.

This man is one of the early founders of funk - the other two being Sly Stone and George Clinton. James Brown came out on the scene in the late 50's, born 'n raised in the South and thusly influenced by the popular gospel-tinged R&B of Ray Charles and Little Richard. But it wasn't until the mid-sixties when James Brown really began to blow up around America, at first being limited mostly to Black venues and Black patronage. With hits such as "I Got You (I Feel Good)" and "Out of Sight", James Brown began to attract the White audiences of America, earning him the leverage he needed for his future hits.

James Brown however galvanized music forever more with his smash hit, "Cold Sweat", oftentimes credited with being the first ever, true Funk Song. His surge in popularity was boosted even more by his appearances on the Soul Train (being interviewed by a young Al Sharpton himself), and his Civil Rights Movement-themed piece of "Say It Loud (I'm Black and I'm Proud)". Ironically, the chorus of "Say It Loud" led James Brown to recruit a few youths for the refrain and a majority of them were white or Asian with only a few Black children to sing in it. [I lol'd].

After James Brown had become a driving musical force in the late 60's, hit after hit was issued. "Papa's Got a Brand New Bag", "I Got the Feelin'", "Mother Popcorn", "Super Bad", and least of all, "Get Up (I Feel Like Being a Sex Machine)" followed James Brown from the 60's into the duration of the 70's, his popularity waning into the 80's. But the 80's were far from devoid of James Brown's influence - Prince and Michael Jackson both being the most popular artists of the 80's, drawing upon James Brown vocal inflections and funk sensibilities.

So, to follow that quick run, I'mma review Brotha JB's album: Sex Machine.





"Shake your arms, then use your form/ stay on the scene like a sex machine./ You got to have the feeling - sure as you're born./ Get it together, right on, right on."

Tracklisting

o1. getup(ifeellikebeinga)sexmachine

o2. brotherrapp(pts1-2)

o3. bewildered

o4. igotthefeelin

o5. giveituporturnitloose

o6. idontwantnobodytogivemenothing(openupthedoorillgetitmyself)

o7. lickingstick--lickingstick

o8. lowdownpopcorn

o9. spinningwheel

1o. ifiruledtheworld

11. therewasatime

12. itsamansmansworld

13. pleasepleaseplease

14. icantstandmyself(whenyoutouchme)

15. motherpopcorn






This is one of the many compilations of James Brown's live tours throughout the decades - usually connecting a good two or three shows that he had performed a few days from one another. James Brown begins by asking if he can do his thing, really get into it, do his thing, get into it - then he counts it off. He tells you to "Get Up, Stay on the Scene, Like a Sex Machine" and you do as he says. When this album came out, James Brown had already formed his all-star band of the JB's. He already had the legendary Saxophonist and right-hand man, Maceo Parker, as well as the future legend of the P-Funk Collective, Bootsy Collins on bass. From the get go, as you can expect from a James Brown album, James Brown gets down with his bad self, staying on the one and keeping it funky from start to finish. He opens up with the legendary, "Get Up ( I Feel Like Being a) Sex Machine" and the track grooves on for a good eleven minutes. Without giving you time to catch a breath, he gets back into a groove with his "Brother Rapp" which lasts Five minutes. A quick montage previous hits follows with "Bewildered" as he references past hits. "I Got the Feelin'" was also a popular song, it being lip-synched in a particular episode of the Cosby Show with Theo mimicking James Brown (Awesome Episode btw).



What follows, however, lacks the in pocket groove of the earlier parts of the album. Not to say that the rest of the album is bad however. "Spinning Wheel" and "Lowdown Popcorn" are mostly instrumental grooves which show off the precision of James Brown's tight band. The following five tracks, "If I Ruled the World" through "I Can't Stand Myself ( When You Touch Me)" serve as the standard fare in a James Brown show - a medley of his most popular hits at the time. The Medley is composed of short snippets of his more soulful hits, reminding the audience that James Brown has vocal merit beyond his spine-chilling ululations and soul growls. But the reason I bought the album (other than for Sex Machine and rumors that it just is funking amazing) is for the track "Mother Popcorn" at the very end. This funk jam reminded me of the glory of "Cold Sweat".

James Brown's influence on music is evident as you listen to Sex Machine - the soulful screams of Prince, funky basslines of Bootsy Collins, Horny Horns of Parliament. James Brown epitomized Black Music and, for the most part, continues to do so. As time goes on, I might end up doing a review of another one of his records. But as it stands, next in line is probably going to be Fela Kuti - a legend that had come out of Nigeria and was to Africa, what James Brown was to America, Fela Kuti himself actually meeting James Brown and being directly influenced by the Godfather of Soul.


Well, that's all for this week's Funk. In the mean while, Get up offa that thing, shake it, you'll feel better!













 { James Brown picture @ Consequence of Sound }

//end.