Quotulatiousness

January 5, 2012

The MPAA over-cooks their numbers to support SOPA

Filed under: Economics, Law, Media, Technology, USA — Tags: , , , , , — Nicholas @ 09:53

Techdirt reports on the work done by Julian Sanchez at the Cato Institute to actually scrutinize the “loss” numbers used by the MPAA:

One of the things we’ve noticed in the debate over SOPA and PIPA is just how the other side is really lying with statistics. We’ve done a thorough debunking of the stats used by the US Chamber of Commerce to support both bills, as well as highlighted the misleading-to-bogus stats used by Lamar Smith in his support of the bill.

But every day, more bogus stats are rolled out. Julian Sanchez, over at the Cato Institute, has decided to dig into one specific bogus number, the supposed claim of $58 billion in “losses,” and to show how the numbers don’t hold up to any scrutiny. In fact, using the details of where the numbers came from, Sanchez makes the case that SOPA won’t save a single net job for the US economy. Read on to find out how.

First off, the $58 billion comes from an absolutely laughable report for the Institute for Policy Innovation, done every year by Stephen Siwek at a firm called Economists Incorporated. We’ve challenged this ridiculous number in the past, but not to the level of detail that Sanchez has here. He starts out by bringing up (as we have many times), Tim Lee’s excellent debunking of the ridiculous “ripple effects” that Siwek/IPI always use, despite them being a trick to double, triple, quadruple, etc count the same dollars [. . .]

December 28, 2011

“Truth and love must prevail over lies and hatred”

Filed under: Europe, History, Liberty — Tags: , , , — Nicholas @ 00:06

Matt Welch returns to Prague for Václav Havel’s funeral:

It’s a safe bet that in the history of state funerals, no former president has been sent off to the Absolute Horizon by not one but at least three different live, nationally televised rock songs about heroin.

Such was Václav Havel’s genre-straddling life and thoroughgoing conception of freedom that it seemed as natural as tartar sauce on fried cheese to bookend a portentous, Dvořák-haunted National Requiem Mass in Central Europe’s oldest Gothic cathedral with a loose-limbed, hash-scented rock and roll celebration at the Czech Republic’s most storied music venue, all while the non-VIPs on the streets of Prague (and their counterparts outside the capital) lent the most dignity of all to the three-day National Mourning by creating ad-hoc candlelit shrines in whatever patches of cobblestone reminded them of the man who made them most proud to be Czechs.

It was a remarkable memorial, one that — like Havel himself — could not have happened in any other city or country. Yet the celebration offered enough bread crumbs for non-Czechs to stumble upon the promise of forgotten political alchemies lurking just outside our daily view. I was there to pay my respects; here are some observations and pictures.

December 26, 2011

Delingpole: “I wouldn’t write a rude song about Islam if you paid me a million quid”

Filed under: Liberty, Media, Religion — Tags: , , , , — Nicholas @ 11:57

James Delingpole is upset with the easy laughs that comedians can get for poking fun at Christianity, yet the same comic geniuses are terrified to offend the equally parody-worthy Islam — and for good reason. Write and perform a ditty about Jesus and you’re the toast of the town and get invited to all the late-night TV talk shows. Do something remotely the same on the topic of Mohammed and get a set of real death-threats and the constant need to check under your car for explosives:

Did you hear the song Aussie comic Tim Minchin wrote savagely satirising Islam for Channel 4’s Eid special? No, I didn’t either. It didn’t happen and it never would happen: first because no broadcast station in its right mind would ever allow it; second because I don’t believe that Minchin would be stupid enough to write it.

And I’m not calling Minchin out for physical cowardice on this issue. From the Danish cartoons to the Paris bombing, we’ve seen far too many cases of artists testing the right to free speech — only to find that where certain religions are concerned, such matters are strictly verboten. But what I am definitely accusing him of is hypocrisy and moral cowardice, as regards the banned song he wrote for a Jonathan Ross Christmas special likening Jesus to a blood-drinking zombie.

[. . .]

Again, let me stress, this isn’t a plea to Minchin to acquire set of cojones and commit suicide through the medium of satire. I wouldn’t write a rude song about Islam if you paid me a million quid. Or even ten million. But what I equally wouldn’t do is compromise my integrity by laying heavily into one soft-target religion while treating a rival one, far more ripe for satire, with kid gloves. To do so would, I think, make me look a hypocrite and a fraud.

Update, 27 December: Sorry, fixed the broken link. Didn’t realize it wasn’t working properly until now.

December 23, 2011

Choosing the right historical figures to appear on Canadian banknotes

Filed under: Cancon, Media, Randomness — Tags: , , — Nicholas @ 12:36

Colby Cosh has some thoughts on who we should be celebrating by including their images on our currency:

Hilarity! Both of the metropolitan broadsheets in Alberta are throwing a tantrum about the Mint’s plans to dump the Famous Five feminists of the 1920s from the $50 bill and replace them with a picture of an icebreaker. Like most pundits who take a thwack at the occasional issue of personages and emblems on our currency, the authors of these editorials act like they have never been east of Flin Flon.

I ask you to sincerely disregard the epic loathsomeness of the Famous Five — that quintet of unsmiling prohibitionists, pacifists, and white supremacists, at least three of whom bear direct personal responsibility for a four-decade regime of sexual sterilization of the “unfit” in Alberta. Leave aside, too, the fact that women would obviously have been admitted to the Senate soon enough if there had never been a Persons Case. No, I ask you merely to look at the people other countries put on their paper currency. With the exception of Australia, which shares our fetish for early female politicians utterly unknown elsewhere, you’ll find they mostly like to put world-historical figures on there. Japan honours Noguchi, who discovered the syphilis spirochete. England honours Darwin and Adam Smith. Sweden remembers Linnaeus and Jenny Lind. New Zealand commemorates Edmund Hillary and Ernest Rutherford.

He invites the readership to provide their choices for banknotization. I thought the obvious suggestion was to include Geddy Lee, Alex Lifeson, and Neil Peart — our Holy Trinity — on the banknotes.

December 18, 2011

Tyler Cowen on “aesthetic stagnation”

Filed under: Liberty, Media, Technology — Tags: , , , — Nicholas @ 11:34

Responding to an article in Vanity Fair by Kurt Andersen, Cowen lists a few things that must be taken into consideration:

1. Movies: The Hollywood product has regressed, though one can cite advances in 3-D and CGI as innovations in the medium if not always the aesthetics. The foreign product is robust in quality, though European films are not nearly as innovative as during the 1960s and 70s. Still, I don’t see a slowdown in global cinema as a whole.

2. TV: We just finished a major upswing in quality for the best shows, though I fear it is over, as no-episode-stands-alone series no longer seem to be supported by the economics.

3. Books/fiction: It’s wrong to call graphic novels “new,” but they have seen lots of innovation. If we look at writing more broadly, the internet has led to plenty of innovation, including of course blogs. The traditional novel is doing well in terms of quality even if this is not a high innovation era comparable to say the 1920s (Mann, Kafka, Proust, others).

4. Computer and video games: This major area of innovation is usually completely overlooked by such discussions.

He also includes something which — at least for me — counts as a “killer app” for this kind of discussion:

7. Your personal stream: This is arguably the biggest innovation in recent times, and it is almost completely overlooked. It’s about how you use modern information technology to create your own running blend of sources, influences, distractions, and diversions, usually taken from a blend of the genres and fields mentioned above. It’s really fun and most of us find it extremely compelling

That “personal stream” is so pervasive that we generally don’t notice that it’s a hallmark of the modern era. We don’t get our news from single sources anymore: not just a single local newspaper, or a single TV newscast. We can easily find like-minded communities for just about all our niche interests with relatively minimal effort. In the past, such communities were severely distance-challenged to even form, never mind to thrive.

That we now can easily control and direct our personal streams to include and exclude in such fine gradations is something that few could even imagine 20 years ago. In a sense, we all have “clipping services” providing us with interesting and relevant snippets, but we can literally have hundreds of such services — at little or no cost — to chase down our merest whims for fresh information. It doesn’t show up on the GNP as a gain, but it’s very much a differentiator between today and just a few years back. Yet we don’t notice because we’re immersed in it.

December 16, 2011

Reason.TV: Christopher Hitchens – Bah, Humbug on Christmas

Filed under: Humour, Liberty, Quotations, Randomness — Tags: , , , — Nicholas @ 10:34

Christopher Hitchens, 1949-2011.

I’m saddened to write that the great essayist and writer Christopher Hitchens is dead at the age of 62. He had been weakened by the cancer of the esophagus that he disclosed publicly in 2010 and the treatments he had undertaken to fight his illness. Reason extends its condolences to his wife, family, and friends.

As is clear to anyone who has read even a sentence of his staggeringly prolific output, Hitchens was the sort of stylist who could turn even a casual digression into a tutorial on all aspects of history, literature, and art. As a writer, you gaze upon his words and despair because there’s just no way you’re going to touch that. But far more important than the wit and panache and erudition with which he expressed himself was the method through which he engaged the world.

The Toronto Star has a small collection of quotations which do give a sense of the man’s range and wit:

5. About Sarah Palin: “She’s got no charisma of any kind, [but] I can imagine her being mildly useful to a low-rank porn director.”

6. “If you gave [Jerry] Falwell an enema he could be buried in a matchbox.”

[. . .]

8. About Mother Teresa: “She was not a friend of the poor. She was a friend of poverty. She said that suffering was a gift from God. She spent her life opposing the only known cure for poverty, which is the empowerment of women and the emancipation of them from a livestock version of compulsory reproduction.”

9. “Everybody does have a book in them, but in most cases that’s where it should stay.”

[. . .]

12. About Michael Moore: “Europeans think Americans are fat, vulgar, greedy, stupid, ambitious and ignorant and so on. And they’ve taken as their own, as their representative American, someone who actually embodies all of those qualities.”

December 9, 2011

“An ‘American tradition’ is anything that happened to a baby boomer twice”

Filed under: Humour, Media, Randomness — Tags: , , — Nicholas @ 08:30

Hard to refute the latest xkcd take on Christmas music:

December 2, 2011

European anti-piracy campaign didn’t get permission to use music

Filed under: Europe, Law, Media, Technology — Tags: , , , , — Nicholas @ 10:01

In a lovely turn-about, they’re being sued by the composer whose music was, um, pirated:

Anti-piracy group BREIN is caught up in a huge copyright scandal in the Netherlands. A musician who composed a track for use at a local film festival later found it being used without permission in an anti-piracy campaign. He is now claiming at least a million euros for the unauthorized distribution of his work on DVDs. To make matters even worse, a board member of a royalty collection agency offered to to help the composer to recoup the money, but only if he received 33% of the loot.

A story currently unfolding in the Netherlands painfully exposes the double standards and corruption that can be found in some parts of the copyright industry.

It all started back in 2006, when the Hollywood-funded anti-piracy group BREIN reportedly asked musician Melchior Rietveldt to compose music for an anti-piracy video. The video in question was to be shown at a local film festival, and under these strict conditions the composer accepted the job.

However, according to a report from Pownews the anti-piracy ad was recycled for various other purposes without the composer’s permission. When Rietveldt bought a Harry Potter DVD early 2007, he noticed that the campaign video with his music was on it. And this was no isolated incident.

The composer now claims that his work has been used on tens of millions of Dutch DVDs, without him receiving any compensation for it. According to Rietveldt’s financial advisor, the total sum in missed revenue amounts to at least a million euros ($1,300,000).

H/T to occultado for the link.

November 21, 2011

Oh, good: the age of hagiographic Beatles stories may be coming to a close

Filed under: Britain, Media — Tags: , , — Nicholas @ 17:02

Or, if not a close, at least a pause:

Given the vastness and variety of the literature, it would be incorrect to say that the Beatles story has been whitewashed, not when it includes so many get-even tell-alls and book-sized sumps of sensational gossip. But there is a quasi-official version of events, and when it is reissued periodically from the tireless Beatles public relations machine, the narrative does tend to take on the unblemished pallor of approved history. For 50 years the Beatles have been the rock group you could take home to meet Mom, and nobody close to their stupendous commercial enterprise seems eager to undo the image.

Paul, Ringo, the two widows, and what remains of the original Liverpool crowd keep the history tidy for reasons that are surely as much personal as fiduciary. Beatles Anthology, the eight-hour, supposedly definitive documentary the Beatles machine released in 1995, omitted any unpleasantness that might cast a shadow on the sunny version of the Beatles story, aside from a few inescapable anecdotes about illegal drug-taking. There was no mention of the now-legendary sybaritic excesses of Beatles tours, or the friends, wives, lovers, children, and employees betrayed or discarded on the way to the top. The sulfurous rancor that at last pulled the group apart, and which continued in punishing and pointless legal maneuvers for another generation, was mostly ignored. Even today, Paul and Ringo have stalled the rerelease of the 1970 documentary Let It Be owing to its glaring display of the group’s lassitude, self-loathing, and crisscrossing bitterness. And they’re right to keep it locked away, if the point is preserving the image of the moptops. It’s been a long time since I’ve seen Let It Be, but I don’t recall wanting to take any of those Beatles home to meet Mom.

The authorized version has been buffed in recent weeks with commemorations of the tenth anniversary of George Harrison’s death, at age 58, from cancer. There he was again, peering out from the cover of Rolling Stone, just like old times. Life magazine, always a codependent in Beatles mythmaking, disinterred itself long enough to get out a special celebratory issue. HBO aired a four-hour documentary put together by Martin Scorsese, Living in the Material World, which is also the title of a companion book of quotes and pictures released by Harrison’s widow Olivia.

The book is the size of a paving stone and as sumptuously produced as any coffee-table accessory can be. Scorsese’s movie, on the other hand, is a mess. Like too many documentaries nowadays, it lacks a single narrator, leaving the viewer helpless as the movie jumps back and forth through each stage of the Beatles story, from blitzed-out Liverpool to blissed-out Rishikesh. Anyone unfamiliar with the small but necessary roles in the dramatis personae will find himself wondering who all these people are. Where’d this Astrid woman come from, and how come Stuart Sutcliffe is dead all of a sudden — and now that you mention it, who was Stuart Sutcliffe anyway? Poor Pete Best, who he? (The answers for the uninitiated: Hamburg, Germany, where she befriended the young Beatles; a brain tumor; the Beatles’ first bass player; and .  .  . it’s complicated.)

Unlike most of the folks around my age, there’s almost no Beatles music in my collection (at least, by the Beatles: I’ve got Stanley Jordan’s wonderful version of Eleanor Rigby, and one or two other covers). While I wouldn’t go as far as Kathy Shaidle (“Beatles were phonier than Partridge Family, Monkees put together”), I would say that I’ve generally considered the Beatles to be over-rated.

November 12, 2011

Still no charges in the Gibson Guitar case

Filed under: Bureaucracy, India, Law, Media, USA, Woodworking — Tags: , , , , — Nicholas @ 11:00

An update in the Wall Street Journal just recaps the background to the case, and has an interview with Henry Juszkiewicz, the CEO.

On Aug. 24, federal agents descended on three factories and the Nashville corporate headquarters of the Gibson Guitar Corp. Accompanied by armored SWAT teams with automatic weapons, agents from the Fish and Wildlife Service swarmed the factories, threatening bewildered luthiers, or guitar craftsman, and other frightened employees. A smaller horde invaded the office of CEO Henry Juszkiewicz, pawing through it all day while an armed man stood in the door to block his way.

“I was pretty upset,” Mr. Juszkiewicz says now, sitting outside that same office. “But you can only do so much when there’s a gun in your face and it’s the federal government.” When the chaos subsided, the feds (with a warrant issued under a conservation law called the Lacey Act) had stripped Gibson of almost all of its imported Indian rosewood and some other materials crucial to guitar making.

The incident attracted national attention and outrage. Like Boeing — whose plans to locate new production in South Carolina are opposed by the National Labor Relations Board — here was an iconic American brand under seemingly senseless federal fire.

November 2, 2011

Disagreeing with Pete Townshend

Filed under: Economics, Media — Tags: , , , , — Nicholas @ 09:03

Felix Cohen has an interesting article up at the Guardian‘s “Comment is free” section:

When I was originally sent some quotes from Pete Townshend’s John Peel lecture on Apple — which he refers to as a digital vampire — and music piracy, I was ready to fundamentally disagree with the thrust of his argument, but having taken the time to read it and parse it I’m surprised at how much sense there is. Regrettably, though, he also commits some fairly serious and unforgiveable misunderstandings of Apple and Amazon as companies, the internet and, perhaps least forgivable, the nature of creativity and the auteur as arbiter of what’s acceptable for public consumption.

[. . .]

Because I also believe that the commercial success you and your peers achieved was a brief, Burgess Shale-like period in popular culture, where the dearth of real social recommendation meant that people like John Peel, and now, sadly, Simon Cowell, imposed their tastes on swaths of youth. Peel (Cowell considerably less so) was an amazing, charismatic, much missed man who was able to tap into the zeitgeist and promote acts who wouldn’t have a chance without him. But he had his tastes and dislikes like anyone, and that’s the downfall of auteur theory; you don’t get to see outside of someone else’s perspective.

[. . .]

And, like the creatures in the Burgess Shale, we can look back and say: this brief flowering of bizarre and fantastical cultural expression was only made possible by its environment. This was what popular culture looked like when the only people who could make a real living were the top 0.0001%, while everyone else toiled in garages, college music rooms and village halls, trying everything in their power to break through. And, sadly, it ended up anodyne, populist and, well, The X Factor.

[. . .]

I’m not sorry that the period where you were able to be wined and dined by vast, terrifyingly wasteful record labels because you were paying for all of their A&R failures is over. To return to my prehistoric metaphor, the Cambrian period ended with a mass extinction event, but the period that followed allowed for the establishment of the species we see today. We should hope that creative popular culture follows a similar pattern, and that new artists and musicians will be able to be successful, widely heard, nurtured by crowd-supported services such as PledgeMusic rather than bloated A&R corporations; companies with a more human attitude to what they do and who they are doing it for.

October 17, 2011

Nostalgia for the monoculture that never was

Filed under: Media, USA — Tags: , , — Nicholas @ 08:58

Steven Hyden points out that waxing nostalgic for a mythical time when “we” had a monoculture is farcical:

Like Touré, I get nostalgic for the monoculture. It certainly seems like an alluring idea. The monoculture reinforces the belief that what we as critics spend so much time thinking about really is a central part of the way our society lives and breathes. Otherwise it might be hard to believe in the primacy of pop music when millions of people are out of work and our government is crippled by deep systemic dysfunction. But the best thing (or the worst thing, if you’re writing a think piece) about the monoculture is that it exists safely in the past, where it can live on in our imaginations as a mythical place where, as Touré recently wrote in Salon, “an album becomes so ubiquitous it seems to blast through the windows, to chase you down until it’s impossible to ignore it” — an all-powerful communal unity that comments on the shortcomings of the present.

[. . .]

I’ll remember going back to my junior high school that afternoon and talking about the video with all of my classmates. We knew instantly that “Smells Like Teen Spirit” signaled the dawn of a new era in pop music; it expressed our joys and fears, and pointed the way to a new future. We pledged to commit all the details of this moment (sorry, Moment) to memory, so that when our children asked us what it was like When The World Changed Forever, we would be able to pass down the tale.

Oh, wait a second: It didn’t happen that way at all.

Yes, I saw “Smells Like Teen Spirit” video over lunch, but nobody seemed to know who Nirvana was when I got back to school. It wasn’t like my friends could just punch up the video on their iPhones after I told them about it; the clip was in heavy rotation on MTV, but you still had to watch the channel for an hour or two (and at certain times of the day) to see it. Once my classmates did see it, a number of them purchased “Nevermind,” as I did. But many of them didn’t. Some preferred Pearl Jam. Some liked N.W.A.’s “Niggaz4life.” Some didn’t care about music at all; they’d rather play Tecmo Bowl. Then there were the millions and millions of Americans who bought Garth Brooks’ “Ropin’ the Wind,” the best-selling album of 1991. If anything, that was the album that we as a culture were united behind — it sold 14 million copies, though I never heard it once blasting through people’s windows.

October 9, 2011

ReasonTV: Remy’s Occupy Wall Street Protest Song

Filed under: Economics, Humour, USA — Tags: , , , — Nicholas @ 11:52

September 16, 2011

Last Night of the Proms

Filed under: Britain, History, Media — Tags: — Nicholas @ 11:10

Patrick West talks about the pro- and anti-Prom factions in British life:

When it comes to international politics, it is subconsciously understood that music can be used as a means of celebrating nationalist sentiment, or for trying to overcome it. While national anthems and folk music are employed to foment patriotism, songs such as the ‘Internationale’ and ‘The Red Flag’ represent an effort to transcend it. It’s a neat dichotomy — and it is also wrong, as last Saturday’s Last Night at the Proms demonstrated.

For those not in the know, the concert, held at London’s Royal Albert Hall, is the culmination of an annual eight-week festival of orchestral classical music, and the Last Night is its rapturous crescendo, traditionally featuring tunes that celebrate Britain/England — Edward Elgar’s ‘Pomp and Circumstance March No.1’ (which includes ‘Land of Hope and Glory’), Thomas Arne’s ‘Rule, Britannia!’, Hubert Parry’s ‘Jerusalem’ and the national anthem itself, ‘God Save The Queen’. The only place you will see Union flags on show in such vast numbers, and with such unashamed vainglory, will be on Belfast’s Shankhill Road or at a British National Party rally.

And there lies the problem for some on the liberal-left, who have traditionally sneered at this event. Many feel uneasy seeing the Union flag displayed so copiously in this musical, ersatz political rally, the ostensible message of which is that Britain is the best country in the world and all other countries are rubbish. Writing in the Guardian this week, Guy Dammann noted that the Last Night of the Proms provided ‘the opportunity to celebrate great little Britishness with no apparent irony’, as if to celebrate it with sincerity was a baffling and risible idea. The fact that the audience seems composed mostly of inebriated toffs compounds a sense of odium among the liberal-left.

September 13, 2011

New Kate Bush album to be released November 21

Filed under: Media — Tags: , — Nicholas @ 09:22

By way of a Twitter update from Stephen Fry, the news of a new Kate Bush album later this year:

We are extremely pleased to announce that Kate will be releasing a brand new album: “50 Words For Snow” on 21 November 2011

The album will be the second release from Kate’s own label Fish People and comprises all new material that was recorded during the same period that Kate worked on her album “Director’s Cut”.

[. . .]

“50 Words For Snow” will feature seven brand new tracks set against a background of falling snow. The total running time is 65 minutes and the track listing is:

SNOWFLAKE
LAKE TAHOE
MISTY
WILDMAN
SNOWED IN AT WHEELER STREET
50 WORDS FOR SNOW
AMONG ANGELS

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