K-Squared Ramblings

Hazards of DRM on Music (or video, or any other media)

Mark Pilgrim, in The Day the Music Died, points out what happens when DRM meets market failure.

On August 31, Microsoft will turn off the servers that validate their “PlaysForSure” DRM system (this predates the system they use for the Zune). This means that anyone who has bought music that uses PlaysForSure will not be able to transfer it when they upgrade or replace their computer, or get a new music player.

It won’t be an instantaneous death like DIVX was, or like a subscription system, because it doesn’t phone home whenever you try to play a track. But it’ll be a lot faster than simple technological obsolescence. I can still play my old VHS tapes until my VCR breaks down (and then I could probably still get it fixed if I really wanted to), even though I don’t think I’ve seen a pre-recorded tape in a store in years.

This is also why I prefer to check Amazon’s MP3 store first, before going onto the iTunes Music Store, and then prefer DRM-free iTunes Plus to standard iTunes tracks. Given their current position, Apple isn’t likely to get rid of iTunes anytime soon, but if they ever did, I’d be in the same boat as people who purchased PlaysForSure tracks. (Though I’m hoping they’ll move the entire catalog away from DRM long before that happens.) Whereas since Amazon’s tracks are plain, ordinary MP3s, they could abandon the business tomorrow and I’d still be able to play the tracks for as long as I can find software that plays MP3s.

(via ma.tt)

Songs with a Twist

Recently, I was reminded of a conversation about songs with twist endings. Like a Twilight Zone episode, they’ll set up one situation and then in the final verse, switch things around to a completely different perspective.

One example would be Vertical Horizon’s breakthrough hit, “Everything You Want.” The chorus repeats:

He’s everything you want,
He’s everything you need.
He’s everything inside of you that you wish you could be.
He says all the right things at exactly the right times,
But he means nothing to you and you don’t know why.

Most of the song presents this sort of detached, third-party view of someone who perhaps is concerned for a friend, but that’s all. Then the bridge hits, with lines like, “It’s only what you’re asking for,” and the intensity builds, until you get to the final chorus:

I am everything you want,
I am everything you need.
I am everything inside of you that you wish you could be.
I say all the right things at exactly the right times,
But I mean nothing to you and I don’t know why.

It suddenly becomes clear that the speaker is himself right in the middle of things, and the woman’s affections are in fact extremely important to him.

Another one would be the Jim Steinman song “Two Out of Three Ain’t Bad,” made famous by Meat Loaf. The speaker keeps pleading with a woman that…

I want you
I need you
But there ain’t no way I’m ever gonna love you
Now don’t be sad
‘Cause two out of three ain’t bad

At the end of the song, he explains “There’s only one girl that I will ever love” and that, when she left him, “She kept on telling me…” at which point he launches into the refrain. Suddenly, this guy who sounded unreasonable throughout the entire song turns out to have been on the receiving end of the same dysfunction in a previous relationship—and he’s still messed up by it.

What other songs can you think of that do this?

Links, from the Astronomical to the Surreal

The Value of Space Exploration, via Phil Plait’s response.

Neil Gaiman on The Fairy Feller’s Master Stroke, a painting by a madman that’s inspired its share of stories.

And from Comics Worth Reading, our WTF entry for the day: Paradise by the GoPhone Light. It’s a commercial done in the style of a music video, featuring Meat Loaf and Tiffany as the parents of a kid who wants a GoPhone. Completely surreal, especially once the random explosions start.

It’s just occurred to me that, aside from it being some sort of cell phone, I have no idea what a GoPhone is. [/me types "gophone" into Google] Ah, OK. Pre-paid cellphone. Meh. (And now I’m imagining how much spam is going to get posted to this thread. *sigh* )

Tori Comics

So, what comic book event of the summer has me the most excited? Is it Marvel’s Secret Invasion?  DC’s Final Crisis? The release of The Flash Companion? Geoff Johns returning to The Flash for Rogues’ Revenge?

Well, that last one is close, but it’s actually Comic Book Tattoo, the upcoming ~500-page anthology of comic book stories inspired by Tori Amos’ music announced last December, and Comic Book Resources has a huge article about the project, including art.

(as last time, via Colleen Doran)

Musical Thoughts of the Day

1. Fountains of Wayne’s song, “No Better Place,” popped up on the iPod today. There’s a great line that made us both laugh when we heard them at a concert several years ago, opening for some band that one or the other of us wanted to see:

It may be the whiskey talking
But the whiskey says “I miss you” everyday.

2. The “dream control” sequence from Queensryche’s “Silent Lucidity” sounds really weird in headphones.

3. Heard a cover of Aerosmith’s “Dream On” in Red Robin a few nights ago. Sounded like sort of like Amy Lee (Evanescence) if she were a soprano. Googling suggests that it might be Kelly Sweet. (Edit: After grabbing her version of the song—99¢ is a great price for impulse buying—I’m almost certain this was the one we heard.) She was accompanied by our waitress—but not when she was at out table.

The Ballad of Barry Allen

I just discovered that They’re Everywhere, the album featuring the Flash-themed song, “The Ballad of Barry Allen,” is now available on Amazon’s MP3 store. The band, Jim’s Big Ego, is headed by the nephew of legendary Flash artist Carmine Infantino, who did the cover artwork on the album.

And yes, the song’s actually good!

It’s been available on iTunes (which is how I originally bought it) and CD before, but it’s worth mentioning since Amazon’s music downloads, like Slabster’s, are just plain MP3s. No DRM, no account activation, no need to authorize computers or stick with one company’s player—hardware or software.

There’s also a fan music video, “Seems so slow,” that uses clips from the Justice League and Teen Titans cartoons:

See also: Flash Music.

P.S. Would you believe this is the first time I’ve actually embedded a YouTube video in this blog? I’m so behind the times, I know…

Tori Amos Comics & Concert

Now this is cool: Image Comics will be releasing a graphic novel anthology with stories based on Tori Amos songs next summer! And Colleen Doran is illustrating one of the stories! (Her blog is where I heard about it.)

We went to Tori’s concert on Saturday at the Grove of Anaheim. The standing-room show was good, though there were some snafus getting to it, made worse by the fact that they opened the doors about 45 minutes late. So late, in fact, that they gave up on security checks and just started letting people in. By the time it started moving, the line snaked all the way along the side of the theater and down at least one side of the (rather spacious) parking lot.

Her current album, American Doll Posse, is based around a fictional quintet of singer/songwriters, each based on a different facet of her personality, and she performed as three different personas: Pip, Santa (no relation), and Tori. Which should have been more fun, but there was just a bit too much self-parody in the performance.

She brought a band again, which I think helps keep her from the slow-everything-down tendency she showed on the Originial Sinsuality tour (Katie calls it “elf disease,” after the way the elves of Lothlorien speak in the Lord of the Rings movies). Except for an endless vamp at the end of “Waitress,” this concert moved much more than the last two we’d seen.

It was good to hear stuff from Choirgirl Hotel again. It’s been notably missing from the last few concerts we’ve been to. And there was a surprising amount of stuff from her first two albums as well. (Full set list at Undented.)

I’ve seen Tori in concert 6 times: Once in 1999 at Irvine Meadows, when she toured on a double bill with Alanis Morissette, twice on the Scarlet’s Walk tour from 2002-2003 (Universal Amphitheater & the Pond), twice on the Original Sinsuality tour in 2005 (Royce Hall & the Greek), and this show at the Grove. My favorite was the Scarlet’s Walk tour. I reviewed the Universal show during the first few months of this blog, though I don’t seem to have written anything about the one at the Pond.

Update: The Beat has more on the comic project, including a title, Comic Book Tattoo and additional contributors.

Classics Declassified

What happens when you put 1940s Batman comics and Crime and Punishment in a blender? No, not shredded paper, but Dostoyevsky Comics starring Raskol. Hilarious parody of golden-age comic book storytelling and classic Russian literature. Though some of the commenters seem to feel it was a personal insult against Fyodor Dostoevsky and Russian culture in general.
(via The Beat)

This next one doesn’t really qualify as a classic, but here’s 88 Lines About 44 Fangirls, a filk based on “88 Lines About 44 Women.” (via Comics Worth Reading)

And moving forward in time once more, we have an answer to the question I’m sure you were all wondering about: What If Gmail Had Been Designed by Microsoft? It shows a step-by-step transformation, with a steady increase in clutter and a steady decrease in usability… sort of in the spirit of the If Microsoft packaged the iPod video. (via ***Dave)

Phantoms and Rock(y Horror) Operas

Watched Phantom of the Paradise this weekend. It’s a bizarre 1974 mash-up between The Phantom of the Opera and Faust set in a satire of the 1970s music industry.

The movie casts Paul Williams (who wrote all the music for the film) as a reclusive recording mogul, Swan, who steals a struggling songwriter’s pop cantata based on Faust to open his new music palace, the Paradise. The songwriter tries to correct the “misunderstanding,” ends up beaten, jailed, and ultimately scarred when he gets caught in a record press trying to destroy it. He sneaks into the newly-opened club, dons a mask, and alternately pursues revenge on the man who stole his music, and his obsession with launching the career of a young singer he befriended earlier in the film (bringing in the Phantom/Christine dynamic).

Believe me, it’s stranger than it sounds.

Anyway, afterward, I went looking on IMDB (as I often do) to see what else the various actors had been in. Somehow I ended up on a horror movie review site, 1000 Misspent Hours, which gave the movie 3½ stars and basically considered the music to be the main failing (though, since it’s a satire, that’s largely intentional. There’s a reason I only have about 3 of the film’s songs on my iPod).

Something interesting I learned was that the Phantom’s origin is actually derived from the 1943 Phantom of the Opera movie with Claude Raines, which, judging by its review, has about as much to do with the original novel as, well, Phantom of the Paradise does. I’m mainly familiar with the original silent version and the Andrew Lloyd Webber musical, both of which track the Gaston Leroux novel fairly well. (Edit: Now that I think about it, the 1943 origin also explains the “Acid: Do not throw in face!” gag from Gremlins 2.)

I do have to take issue with some of his criticisms of Rocky Horror. Not that they aren’t valid, but that several things he finds inexplicable—the thin plot, nonsensical showstoppers, and how the cult following could possibly have started—are easily explained by the fact that it’s based on a stage play, The Rocky Horror Show (also explaining why the movie is The Rocky Horror Picture Show), which sets up a completely different dynamic and expectations. Interesting that the main venue for the film seems to be the midnight showings, which seek to recapture the experience of live theater.

I found the site’s rating system interesting: not only does he have a 1–5 star scale, but he also assigns negative stars for movies that are “so bad, they’re good.” So of course I had to see which films he gave -5 stars, meaning “So bad, it’s genius.” I ended up reading around 10 or so reviews on Sunday night, some of them for movies I will probably never, ever see.

There Wolf

Fedora 8 has just been released, code-named “Werewolf.” As is tradition for this particular Linux distribution, the official release announcement is accompanied by an alternative, humorous announcement playing off the code name.

This time, the joke announcement is a song parody of Michael Jackson’s “Thriller.” And unlike a lot of really bad filk I’ve seen (online and otherwise), it’s surprisingly not bad (for all the subject matter is a bit odd. At least, from what I remember of the original song, it scans.

Best random song pairing ever

The following two “Weird Al” Yankovic songs popped up sequentially on the iPod the other day:

• “I Love Rocky Road” (based on Joan Jett’s version of “I Love Rock ’n’ Roll,” and all about ice cream.)
• “Cavity Search” (it’s about going to the dentist—U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me” is turned into “Numb me, drill me, floss me, bill me.”)

Sometimes random shuffle makes you wonder whether the software knows more about the songs than what’s in the ID3 tag.

The Weird…

Last night we went out to the Orange County Fair to see “Weird Al” Yankovic in concert (the Straight Outta Lynwood Tour). I don’t remember how we managed it, but we got tickets for the fifth row, putting us about 10 feet from the stage. We were off to the side, maybe 20–30 feet from Al’s microphone, but still, it was the closest we’d ever been at a stadium concert.

(Being off to the side put us right by the speakers, which was an odd experience, as the drum beats resonated at the frequency of the human ribcage. On percussion-heavy songs, it was sort of like having an audio pacemaker.)

As always, he put on a fun show. If you haven’t seen him in concert before, all the major songs are done in full costume, with comedic video clips (mostly from his mid-1990s TV show) running between sets to allow time for costume changes. In the middle of the show, he always does a medley of other songs, just to get as much in as possible into a 2-hour concert.

As for being near the front, thankfully he didn’t come to our section for the audience-walk during “Wanna B Ur Lovr,” (a truly annoying song). We did get covered with red and white streamers at the end of “Canadian Idiot,” and (speaking of Monopoly money) fake $100 during “I’ll Sue Ya.”

One surprise: A couple of minutes into “White and Nerdy,” he suddenly stopped, said, “There’s no reason to do this song. Radio, Radio”—and the band proceeded to do a straight cover of Elvis Costello’s “Radio, Radio.” During the encore, he explained they’d had some technical difficulties, and did the song from the beginning (though without the costumes and the Segway).

Another surprise: He performed “Albuquerque.” All 10 minutes of it. *shudder*

After the concert we explored the fair a bit, then left to go to Borders to pick up Harry Potter, leading to the second part of this story…

For now, I’ll leave you with this final thought: We all have cell phones, so come on, let’s get real.

Radio Connection

They say that the Southern California car culture is isolating. It’s hard to argue with that, when everyone’s shut up in their own little boxes. But today, on my way to work (delayed a bit on account of dentist), I was listening to KCRW’s Morning Becomes Eclectic and stopped at a traffic signal. They were playing a live version of Elvis Costello’s “Allison.” I looked in my rear view mirror, and realized that the driver behind me was singing along to the same song. Even though it only went one way—she had no way of knowing I was listening to the same music—it was still a moment of connection through shared experience.

Snow More!

Oh the crowds outside are frightful,
But the music’s so delightful…
’Cept for ev’ry darn place we go,
It’s “Let it Snow!” “Let it Snow!” “Let it Snow!”

Seriously. It seems like this song has somehow become the most popular Christmas song this year. I normally don’t mind it, but come on!

It doesn’t help that it’s about as likely to snow here as it is for a meteor to strike Times Square at exactly midnight on New Year’s Eve. But that’s worth its own post.

(Incidentally, the parody’s original. We made it up together in the grocery store on Sunday. Katie has more, but I can’t remember it.)

Traffic Truth

I was listening to the traffic report on KCRW this morning, and realized the background music sounded familiar. I thought about it, and realized that it was the instrumental track from Aimee Mann’s song, “Nothing is Good Enough.”