Hildegard von Blingin’
Published Jul 16, 2024There are many covers of Billy Joel’s “We Didn’t Start the Fire” that adapt it to different times, but we wanted to give it the bardcore treatment. *Unlike the original, the list is not chronological, and jumps around in time a lot. It very loosely spans from around 400 to 1600, and is from a rather Eurocentric point of view. Thank you to my brother, Friar Funk, for devising the lyrics and providing the majority of the vocals. Many thanks as well to his new wife and our dad for joining us in the chorus at the end.
The image of the monk is from MS Bodleian 602. A scribe at his desk © The Bodleian Libraries Oxford
There are simply too many other images to credit here, but the majority are public domain from wiki media.
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December 13, 2024
December 6, 2024
Liberal cabinet minister accepts “free” Taylor Swift tickets
I’ve often joked that it isn’t surprising that politicians can be bought … what is surprising is just how little it can take. This situation isn’t quite as clear-cut as that, but it looks bad to everyone except Liberal Party insiders:
Former Canadian Defence Minister Harjit Sajjan in happier times (yeah, it’s the only picture I have of the minister).
On Tuesday we learned that federal Liberal cabinet minister Harjit Sajjan will be attending a Taylor Swift concert at BC Place in Vancouver, in a private suite, courtesy of PavCo, the Crown corporation that operates the stadium. The federal government partially funds PavCo, including $116 million earlier this year for improvements to the stadium in advance of the 2026 World Cup.
It’s a textbook conflict of interest. Open and shut. Dead to rights. So much for Sajjan’s political career. Only … not. The only people who seem to disagree that it’s a conflict are federal Liberals and, sorry to say, the office of the Conflict of Interest and Ethics Commissioner — because Sajjan donated $1,500 to a food bank as a gesture to compensate for the coveted opportunity.
“If an item is paid for through a charitable donation, then it would not be considered a gift,” a spokesperson for the commissioner said in response to questions from National Post. “In the case of Minister Sajjan, for example, the original market value of a ticket to a Taylor Swift concert in Vancouver was roughly $600.”
Where do we even begin with this nonsense?
PavCo offered private-box seats to various dignitaries on the understanding they would donate some appropriate amount of money to good causes. Sajjan says he’s proud to have participated.
But you can’t “pay for” a free concert ticket — to use the commissioner spokesperson’s term — by giving money to a food bank. That’s like The Keg offering you a free dinner so long as you pay for it at Montana’s … except food-bank donations, unlike steak dinners, come with tax receipts.
December 2, 2024
The question of our era
At PJ Media, Athena Thorne asks the most pertinent, relevant question of our times:
Is Donald Trump the Long-Awaited Messiah of the Band ‘Rush’ Era?
Rush in concert, Milan 2004.
Photo by Enrico Frangi, via Wikimedia Commons
Greetings, PJ readers! I hope you all had a wonderful Thanksgiving and are still feeling lazy and slovenly. In that vein, here is a tasty morsel of a column from a friend and fellow reader, Kato the Elder. He makes an excellent argument — one with which I heartily agree — that President-elect Donald Trump is the small-L libertarian hero of our time. Enjoy!
In a particular moment during my precocious, autodidact pre-teen years, I stumbled upon a copy of Ayn Rand’s novel Atlas Shrugged at an estate sale in an old New England barn. There, in a hay-covered stall, I found that dense brick of a book that seemed, in a creepy sort of way, to be waiting for me to pick it up and take it home — consequences be damned. It was like Guy Clark’s song about a haunted guitar, found in a pawn shop, with the name of the next victim to pick it up already written on the case. And, like Guy Clark’s guitar, Atlas Shrugged is one of those cultural objects that once picked up cannot be put down. Who could ever forget, on page 455, where it is asked, “What advice would you give Atlas if he became weary of holding up the world? Shrug.” A libertarian is born. I quickly worked my way through the remainder of Rand’s parables and then the essays.
Rand’s novella “Anthem” led to my discovery of the Canadian rock band Rush, which had adapted “Anthem” as the rock opera entitled 2112. It’s the story of a man who suffers under the autocratic rule of the Priests of the Temple of Syrinx, progressives who use computers to create a scientific, expert-driven utopia that does not recognize the value of the individual or the right to think and create and dissent. In “Anthem”, it is the protagonist’s discovery of an ancient incandescent light bulb that leads to the discovery of an earlier and freer society and puts the hero on a collision course with the collectivists. In the Rush version, the long-lost incandescent light bulb is replaced with a guitar, but of course it would be, because what kind of crazy government would take away someone’s light bulbs?
A very strong Randian libertarianism runs through Rush’s music; the heroes of many Rush songs are those individuals struggling, of course, against a government that is determined to pound the individualism and free thought out of its subjects, whether that individual is Tom Sawyer or teenagers living in subdivisions or the teen boy awaiting the world’s applause or the community suffering from mob violence and witch hunts. But Rush, and Rand, are not rejecting the Eisenhower-era type of corporate conformity, but rather the conformity of counter-culture which has taken power and proven the deficiency of the government-expert-knows-best mindset. The epitome of that strain of Randian libertarianism comes in the song “Red Barchetta”, a power ballad about a boy who, in conspiracy with his uncle, escapes to the countryside to race a classic, gas-powered Ferrari against a bland EV car of some kind that has supplanted the freedom and adrenalin rush of gas-powered freedom. Because what kind of crazy government would take away someone’s choice of car?
I saw Rush in concert at least 12 times, and every concert was full of people who looked like me, dressed like me, and sounded like me. We sang along with Rush at the top of our lungs about the freedom of music and the individualism which is closer to the heart. As we all grew older and grayer and our American society became less tolerant of dissent and more dependent on corporate/government cronyism, we could only wonder whether we would find our Howard Rourke, the nonconformist New York developer and architect of Rand’s novel The Fountainhead, who would lead us to the promised land.
November 23, 2024
Kitaro – “Silk Road” (live)
Kitaro
Published Jul 11, 2024From the album Zen – Live In Katsuyama
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November 12, 2024
“Nice business ya got there, Patreon. Wouldn’t want anything to happen to it …”
Above the paywall, Ted Gioia discusses Apple’s latest attempt to cut itself a nice big middleman’s slice of the indy creator market by putting the thumbscrews to Patreon:
Can Apple really charge a 30% tax on indie creators?
What Apple is now doing to indie creators is pure evil — but this story has received very little coverage. Journalists should pay attention, because they are under threat themselves.
Apple is now putting the squeeze on Patreon, a platform that supports more than a quarter of a million creators — artists, writers, musicians, podcasters, videographers, etc.
These freelancers rely on the support of more than 8 million patrons through Patreon, which charges a small 8-12% fee. Many of these supporters pay via Patreon’s iPhone app.
Earlier this year, Apple insisted that Patreon must pay them a 30% commission on all new subscriptions made with the app. In other words, Apple wants to take away close to a third of the income for indie creators — almost quadrupling their transaction fees.
This is the new business model from Cupertino, and it feels like a Mafia shakedown. Apple will make more from Patreon than Patreon does itself.
The only way for indies to avoid this surcharge is by convincing supporters to pay in some other way, and not use an iPhone or Apple tablet.
This is what happens when Apple decides to treat a transaction as an “in app payment” — as if an artist’s entire vocation is no different than a make-believe token in a fantasy video game.
But you can easily imagine how almost anything you do with your phone could be subject to similar demands.
I’ve been very critical of Apple in recent months. But this is the most shameful thing they have ever done to the creative community. A company that once bragged how it supported artistry now actively works to punish it.
November 3, 2024
The end of the “cheap streaming era” is at hand
Ted Gioia explains why your streaming services are going to be jacking up their prices — if they haven’t already done so:
I got a request to explain why streaming subscription prices are so damned high — and getting higher.
This came in response to a chart I shared two days ago:
And it’s not just Disney.
All the streaming platforms are jacking up prices. I still subscribe to five different streaming services—down from six previously. Every one of them raised prices this year, and always by more than the inflation rate.
Here’s what Spotify is doing:
What’s going on? And will it continue?
I recently described this as an “endgame strategy” — but that might be confusing to readers.
Endgame is a term drawn from chess, where it refers to a body of wisdom about the final moves on the board. But business is like chess, so I frequently analyzed endgame situations back in my days at the Boston Consulting Group and McKinsey.
I now see these endgame strategies getting implemented in various media, entertainment, and streaming businesses. But almost nobody inside those businesses wants to talk about it.
So let me lay it out for you.
The Entertainment Industry Is Adopting an Endgame Mindset
You pursue an “endgame” strategy when demand for your business hits a wall, and it’s hard to attract new customers. The most typical endgame strategy is to cut back investment into new products and services, while raising prices sharply.
You’re willing to accept some loss of customers, because you’re now squeezing more profit-per-user out of your remaining consumers — who stick with you out of loyalty or habit or inertia.
These are your sheep, ready to be shorn.
Profit per customer is now the key metric driving your business. It’s more important than innovation or growth or artistry or any of those old fashioned ideas.
That’s why, for example, Netflix won’t share data on the number of subscribers anymore. They claim this is no longer relevant to their business model — and they aren’t lying.
Price increases are now the engine of their business.
October 25, 2024
QotD: The treason of the music critics
This is what I was saying above: everything in music criticism and music culture has changed, except music poptimist perceptions of music criticism and music culture. That is what refuses to mutate. And I think it’s ugly and toxic and has left us in this bizarre place where people who write about music for large audiences think their sacred duty is to affirm the legitimacy of what the audience already likes, instead of championing something entirely new and totally different. But then, that’s what happens when you tell a lot of mostly white and mostly male taste makers that a particular set of tastes is inherently sexist and racist — they sprint in the opposite direction as fast as they can. Because aging white men are almost as afraid of being called racist and sexist as they are of being old.
Freddie deBoer, “A Few Indisputable Points About Poptimism and Then I Give Up”, Freddie deBoer, 2024-07-22.
October 20, 2024
QotD: The “Spirit of the Sixties”
Not to get all Classical Rhetoric up in here, but for prior generations, things like “The Beatles” are synecdoche. They’ll go to their graves insisting that The Beatles were “the greatest band ever”, but if you press them on it, most of them are honest enough to admit that Ringo et al weren’t such great shakes, musically. At their best, The Beatles’ songs are musically simplistic and lyrically gibberish; at their worst, they’re “Rocky Raccoon”. The Beatles are “great” because they were innovators, not so much musically but because they were so goddamn pretentious. They wanted to be not mere entertainers, but artistes, and we indulged them, and that combo — pretentiousness and indulgence — became The Spirit of the Sixties.
Thus if you answer “The Beatles” to the question “What’s so great about The Sixties?”, it’s a synechdoche for “the spirit of the age”.
Severian, “Why the 90s Was the Worst Decade Ever”, Rotten Chestnuts, 2021-07-04.
September 7, 2024
QotD: Instrumental music doesn’t always need or want lyrics attached
Mark Steyn, “Sleigh Ride”, Steyn Online, 2019-12-08.
August 8, 2024
“The future was then” – the Avant-Garde is so passé
Ted Gioia shares some observations on the Avant-Garde in modern culture, where the bourgeoisie seem to have become immune — or at least inured — to all the épater-ie:
Some time back, I was invited to attend a concert by an up-and-coming avant-garde band. These musicians were hellbent on disruption and mayhem, proving their transgressive credentials at every turn.
My companion that evening was a well-known jazz musician and, at the end of the concert, he turned to me and said:
“The future was then.”
I laughed, because this was so true. The performance we had just experienced wanted to be cutting-edge and futuristic, but every note played reflected a notion of the avant-garde as it existed sixty years ago.
The future was then.
I thought of that concert recently when a magazine convened a group of artists and intellectuals and asked them a troubling question:
What happened to the avant-garde?
Few people paid attention to their hand-wringing. I didn’t even hear about this online colloquium until months had passed — and I try to stay on top of precisely these kinds of issues. Nobody I know mentioned it, and I stumbled upon it purely by chance.
But that only proves that there really is a crisis in the avant-garde. It’s a crisis of neglect. Of disinterest.
People once got worked up about cutting edge art and transgressive culture. They loved it or hated it, but they always had strong feelings. Nowadays they hardly notice.
Perhaps they are just deadened to it from over-exposure.
You can put up the strangest statue in the town square nowadays — let’s say Albert Einstein getting swallowed by a monster snail — and people just walk by it. They’ve seen it all before.
You have too.
Artists can make the most bizarre music, destroying instruments, shouting obscenities, and creating all sorts of noise. But — yawn! — somebody’s great-grandpa was doing all that three generations ago.
QotD: The real reason modern music sounds the same
Fast forward a few years, though, and now they’ve got a pretty good idea of what “rock” is. More importantly, they’ve got a pretty good handle on what the market for rock is. At that point, they do what execs in any industry do. Why bother trying to find the hot new thing, when you can just make it yourself?
And that’s why two guys you’ve never heard of, Max Martin and a dude calling himself “Dr. Luke”, have written every #1 pop hit for the last 15 years. I’m sure they don’t work cheap, but it’s a lot cheaper than scouting every bar band in America for a sound / look / stage act that might or might not pan out. Much easier to focus group a few traits, call up central casting, have them send over a made-to-order bimbo, and have him / her / xzhem front Dr. Luke’s latest computer-generated ditty.
And if everything on the radio all sounds exactly the same, that’s because it is exactly the same. Max Martin and Dr. Luke, and their zillion Mini-Mes at every level of the record biz, sometimes write songs for specific people — hey, guys, Katy Perry needs another ballad for her new album, hop to it! But mostly they write on spec, and shop it around. Different singers, different bands, different genres, doesn’t matter — this time it’s the two generic prettyboys in the “country” band Florida-Georgia Line singing it, but last time it was Katy Perry, the next time it’ll be the Backstreet Boys on their triumphant comeback tour, feat. Jay-Z and MC Funetik Spelyn. Same exact song, literally — it’s just that Kenny Chesney needed one more track on his album this time, and Taylor Swift didn’t, so now it’s #5 with a bullet on the “country” chart.
Severian, “Own Goals”, Rotten Chestnuts, 2021-07-21.
August 7, 2024
QotD: The crew of HMS Sheffield in the Falklands
May 4th 1982: As HMS Sheffield is abandoned and the fire spreads towards the Sea Dart ammunition. The remaining crew gather on the foredeck singing “Always look on the bright side of life”.
Now I have heard that story and I’ve always thought it were more than a little bit mythmaking. And yet, and yet. Someone I know (our fathers knew each other, he took a sister out a few times, we worked together for 6 months later on) was actually there. Running the flight control stuff from the next ship over:
Singing led by the FC that we had loaned to them. One of our Sea Kings closed on the fo’c’sle to pick up wounded and saw them all swaying from side to side with their arms outstretched. I learned why when he got back.
I’ll take that as being something that really happened then. Not for publication, not something published for home consumption, but something that actually happened. Young men, on a burning ship, not knowing whether they’d be lifted off before the fire got to the missiles and the kaboom of their little bits all over the South Atlantic. […]
We’re a weird, weird culture here in Britain. We will, and do, take the piss out of absolutely anything, including our own impending death.
Now, whether that’s quite what the economists mean by institutions that aid in economic development is another thing but it is indeed one of those institutions of that British culture.
It’s also wholly glorious but then I’m a Brit so I would say that, wouldn’t I?
Tim Worstall, “The British Are A Very, Very, Weird People”, It’s all obvious or trivial except …, 2024-05-06.
August 5, 2024
Short-term technological forecast – “If I were a commercial pilot, I’d tell you to return to your seats and buckle up”
Most of this Ted Gioia post is behind the paywall (and if you can afford it, I’m sure you’d get your money’s worth for a subscription):
I anticipate extreme turbulence on every front for the remaining five months in 2024. You will see it in politics, business, economics, culture, world affairs, the stock market, and maybe even your own neighborhood.
That’s one of the themes of my latest arts and culture update below.
What happened to the AI business model last week?
After almost two years of hype, the media changed its opinion on AI last week.
The hype disappeared almost overnight
All of a sudden, news articles about AI went sour like reheated 7-Eleven coffee. The next generation AI chips are delayed, and 70% of companies are behind in their AI plans. There are good reasons for this — most workers now say AI makes them less productive.
People are also noticing that AI businesses want to use the entire electricity grid to run their money-losing bots. Meanwhile AI companies are burning through cash at historic levels. Even under the best case scenario, this all feels unsustainable.
But the worst disclosure, in my opinion, came on July 24 — just eleven days ago.
A study published in Nature showed that when AI inputs are used to train AI, the results collapse into gibberish.
This is a huge issue. AI garbage is now everywhere in the culture, and most of it undisclosed. So there’s no way that AI companies can remove it from future training inputs.
They are caught in the doom loop I described last week.
That same day, the Chief Investment Officer at Morgan Stanley warned investors that AI “hasn’t really driven revenues and earnings anywhere”. One day later, Goldman Sachs quietly released a report admitting that the AI business model was in serious trouble.
Even consulting firms, who make a bundle hyping this tech, are backtracking. Bain recently shared the following chart (hidden away at the end of a report) which explains why AI projects have failed.
These findings are revealing. They show that management is absolutely committed to AI, but the tools just don’t deliver.
And, finally, last week the media noticed all this.
They published dozens of panic-stricken articles. Investors got spooked too — shifting from greed to fear in a New York minute. Over the course of just two days, Nvidia’s stock lost around $400 billion in market capitalization.
In this environment, true believers quickly turn into skeptics. The whole AI business model gets scrutinized — and if it doesn’t hold up, investment cash flow dries up very quickly.
This is exactly what I predicted 6 months ago. Or even a year ago.
I expect that the next few weeks — or maybe even the next few days — will be extremely turbulent in the AI world.
Buckle up!
The dominant AI music company just admitted that it trained its bot on “essentially all music files on the Internet”.
Suno is a huge player in AI music — it tells investors it will generate $120 billion per year. Microsoft is already using its technology.
But there’s a tiny catch.
The company now admits in a court filing:
Suno’s training data includes essentially all music files of reasonable quality that are accessible on the open internet, abiding by paywalls, password protections, and the like, combined with similarly available text descriptions
Hey, this is totally illegal — it’s like Napster all over again.
Suno will need to prove that all these copyrighted songs are “fair use” in AI training. I doubt that any court will take that claim seriously.
If the music industry is smart, they will use this violation to shut down AI regurgitation of copyrighted songs.
If the music industry is stupid — run according to my “idiot nephew theory” — they will drop charges in exchange for some quick cash.
July 25, 2024
Poptimism?
Freddie deBoer has a few things to say about “poptimism” (whatever the heck that might be):
this piece is by a literature professor btw
I mean, honestly, what are we doing here? Where does this go? When does the madness end? What degree of all-swallowing society-wide celebration of pop music might be considered sufficient, for pop fans? How much more slavish devotion can Taylor Swift engender before they stop calling her an underdog? What is the endgame? What level of delusion is yet to be achieved, in the space of pretending that pop music is somehow marginalized or disrespected? This is, I’m told, “pop girl summer“, and it is genuinely difficult to find new music that gets any burn that isn’t some 18 to 28 year old photogenic woman, autotuning over shlocky overproduced midtempo backing tracks complete with beats stolen from mid-2010s EDM and muddy indistinct synth lines that all sound exactly the same. (Jack Antonoff should be put to death for his crimes.) My friends: you get all the streams, you get all the good reviews, you get all the Grammys, you get all the magazine covers. There exist almost no mainstream publications that regularly cover any music other than the kind you like. If anyone uses words like “authenticity” in music criticism, they will be sent to the gulag; if anyone suggests that musicians who write their own songs possess some sort of intimate connection to them, that person receives the digital equivalent of being pressed to death like Giles Corey. What more adulation do you want for your stars? What additional level of respect is there for them to secure? What do you want?
NPR says “This summer’s music charts are dominated by pop girl underdogs”. Underdogs cannot dominate! Definitionally! If they are dominating, they are not underdogs! This is the modern hell of crybullying, the person who tells you that you’re oppressing them while they’re busy mashing your face into the asphalt.
And, of course, it’s mostly all a negotiation with aging. As one of the oldest Millennials, I’m watching as my generation reaches middle age and reacts to that transition, and I can give you an initial verdict on how it’s going: not well, at all. We’re mostly adjusting to it by not adjusting to it. So, so many Millennials are confronting the end of their youth by performatively embracing youth culture, loudly declaring that the only music that matters is that which you discover on TikTok. They need everyone to know that they’ve spent the cost of a new Toyota on tickets to the Eras Tour. (Which soaks up seats that might otherwise be available to actual young people, not wine moms with too much money, but nevertheless.) They might like music. But in a much deeper way, they need it. They need what they think it represents.
Of course, this is all made a little bleaker by the fact that elder Millennials were once defined as the “hipster” generation, Williamsburg residents swilling PBR at backyard parties where they listened to the latest indie darling. In other words, they — we — have gone from being ostentatiously countercultural to ostentatiously mainstream, in the span of twenty years, which makes it hard not to conclude that they — we — never actually had aesthetic tastes at all and have instead lived like little reeds in the wind, terrified of ever appearing to not be The Right Kind of Person, which can only ever be defined through our capitalist consumption, since we think that all we are is our capitalist consumption.
July 19, 2024
QotD: The value of contemporary music
Bruce Ivar Gudmundsson, “The Timelessness of Elle Cordoba”, Extra Muros, 2024-04-18.
