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Loving Leonard

leonard

I was as deeply affected by learning Leonard Cohen died as I was by the election results. Maybe more. I can’t name an artist whose songs mean more to me than his. Not Dylan, not (I’m thinking…) anybody. (Here’s how he lifted me one time when I was sick a few years ago.)

Through the soundtrack of my life, nobody else taught more about how to be a man, a lover, and a human being with one foot in the temporary world and the other in eternity.

A couple weeks ago, I was driving to the Peets on Upper State Street in Santa Barbara when some station on the radio played the title song of Leonard’s new album, You Want It Darker.

I didn’t make it all the way. Had to pull over. There was no way I could listen and keep driving. It was too deep, too right. I had never heard it before, and it demanded full attention. Still does. The lyric begins,

If you are the dealer, I’m out of the game
If you are the healer, it means I’m broken and lame
If thine is the glory then mine must be the shame
You want it darker
We kill the flame

Magnified, sanctified, be thy holy name
Vilified, crucified, in the human frame
A million candles burning for the help that never came
You want it darker

Hineni, hineni
I’m ready, my lord

And he was.

I heard today, somewhere in the links below, that he recorded that final album in his Los Angeles apartment, on what turned out to be his death bed.

Please listen to audio links. Leonard’s voice was so deep and worn; and his humor was, if anything, sharper than ever, right to the end.

Having so much of his music in my life makes me miss him more, not less.

Etc:::

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To me the best movie ever made about Jesus is Franco Zeferelli's, now in HD on YouTube.

To me the best movie ever made about Jesus is Franco Zeferelli’s, now in HD on YouTube.

Every year about this time I lament the absence of a good copy of Franco Zefferelli‘s Jesus of Nazareth, which aired as a mini-series on low-def TV in 1977, though it was surely filmed in at least 35mm stock.

But this year, to my amazement, there is an HD version on YouTube. It seems to be 3 x 4 stretched sideways to 16 x 9, but still looks better than the awful VHS version that had previously been (to my knowledge) the only copy available, in stores or online.

It is reverently directed, and features an all-star cast, most of which do an excellent job:

“Starring”

“Guest Stars”

“and”

“Also Starring”

The script is by Anthony Burgess and the (truly fabulous) music by Maurice Jarre. While considered mildly controversial at the time (mostly by prickly Christian fundamentalists), it mostly combines and compresses the biblical accounts of Jesus’ life, which (lets admit) is a heck of a story. (Perhaps it matters that Zefferelli is a devout Roman Catholic, and the Pope liked it.)

Some bonus facts:

  • Robert Powell, as Jesus, almost never blinks in the film. This is by Zefferelli’s intent. So was casting a dude with big blue eyes. Zefferelli wanted Jesus to look like people are accustomed to visualizing him, rather than how he likely looked in reality. For cinematic effect, it works.
  • Zefferelli, a lifelong smoker, is still around, at 93 years old. Most of the stars in the movie are dead.
  • There are a few goofs. One is Jesus’ Bar Mitzvah. That Jewish tradition was more than a millennium off in the future.
  • Rotten Tomatoes actually rates it (85%).

What she does

Over the holidays I asked my nineteen-year-old son, a music maven, to name a tune he liked that I probably hadn’t heard. He quickly brought up “What You Don’t Do,” by Lianne La Havas:

llh-wyddBlew me away. Still does. Can’t get enough of it.

It’s not just her soulful voice and delivery, but the arrangement. Wow. Such a swingy groove, with a beat recalling Sly and the Family StonesHot Fun in the Summertime. Both are in 12/8 time, with piano chords pounding an eighth-note rhythm over rising bass notes. (See the opening sheet music here and here.)

And the changes… the changes. Wow. The lyrics, and her delivery, have this teasing peek-a-boo to them that’s like nothing else I know. (But hey, I miss a lot.)

I see she’s on tour and sold out across the States, but not yet in Europe. Catch her if you can.

meerkatLook where Meerkat andperiscopeapp Periscope point. I mean, historically. They vector toward a future where anybody anywhere can send live video out to the glowing rectangles of the world.

If you’ve looked at the output of either, several things become clear about their inevitable evolutionary path:

  1. Mobile phone/data systems will get their gears stripped, in both directions. And it will get worse before it gets better.
  2. Stereo sound recording is coming. Binaural recording too. Next…
  3. 3D. Mobile devices in a generation or two will include two microphones and two cameras pointed toward the subject being broadcast. Next…
  4. VR, or virtual reality.

Since walking around like a dork holding a mobile in front of you shouldn’t be the only way to produce these videos, glasses like these are inevitable:

srlzglasses

(That’s a placeholder design in the public domain, so it has no IP drag, other than whatever submarine patents already exist, and I am sure there are some.)

Now pause to dig Facebook’s 10-year plan to build The Matrix. How long before Facebook buys Meerkat and builds it into Occulus Rift? Or buys Twitter, just to get Periscope and do the same?

Whatever else happens, the rights clearing question gets very personal. Do you want to be recorded by others and broadcast to the world or not? What are the social and device protocols for that? (Some are designed into the glasses above. Hope they help.)

We should start zero-basing some answers today, while the inevitable is in sight but isn’t here yet.

It should help to remember that all copyright laws were created in times when digital life was unimaginable (e.g. Stature of Anne, ASCAP), barely known (Act of 1976), or highly feared (WIPO, CTEA, DMCA).

How would we write new laws for the new video age that has barely started? Or why start with laws at all? (Remember that nearly all regulation protects yesterday from last Thursday — and are often written by know-nothings.)

We’ve only been living the networked life since graphical browsers and ISPs arrived in the mid-90’s. Meanwhile we’ve had thousands of years to develop civilization in the physical world.

Relatively speaking, digital networked life is Eden, which also didn’t come with privacy. That’s why we made clothing and shelter, and eventually put both on hooves and wheels.

How will we create the digital equivalents of the privacy technologies we call clothing, shelter, buttons, zippers, doors, windows, shades, blinds and curtains? Are the first answers technical or policy ones? Or both? (I favor the technical, fwiw. Code is Law and all that.)

Protecting the need for artists to make money is part of the picture. But it’s not the only part. And laws are only one way to protect artists, or anybody.

Manners come first, and we don’t have those yet. Meaning we also lack civilization, which is built on, and with, manners of many kinds. Think about much manners are lacking in the digital world. So far.

None of the big companies that dominate our digital lives have fully thought out how to protect anybody’s privacy. Those that come closest are ones we pay directly, and are therefore accountable to us (to a degree). Apple and Microsoft, for example, are doing more and more to isolate personal data to spaces the individual controls and the company can’t see — and to keep personal data away from the advertising business that sustains Google and Facebook, which both seem to regard personal privacy as a bug in civilization, rather than a feature of it. Note that we also pay those two companies nothing for their services. (We are mere consumers, whose lives are sold to the company’s actual customers, which are advertisers.)

Bottom line: the legal slate is covered in chalk, but the technical one is close to clean. What do we want to write there?

Start here: privacy is personal. We need to be able to signal our intentions about privacy — both as people doing the shooting, and the people being shot. A red light on a phone indicating recording status (as we have on video cameras) is one good step for video producers. On the other side of the camera, we need to signal what’s okay and what’s not. Clothing does that to some degree. So do doors, and shades and shutters on windows. We need the equivalent in our shared networked space. The faster and better we do that, the better we’ll be able to make good TV.

mutualmusiciansSo I just learned that a Kansas City Jazz station is headed toward existence. If you love any of these musicians, this should be very good news.

The story begins,

By this time next year, Kansas City-style jazz might be bebopping out of a new radio station near you.

The Mutual Musicians Foundation in the 18th and Vine jazz district announced this week it’s been granted a construction permit for a noncommercial, low-power FM radio station. The foundation is hoping the KC jazz station, at 104.7 FM, will be on the air by next January.

It will be called KOJH-LP. LP stands for low power, or what the FCC calls LPFM. Here’s the application for what’s now a granted CP, or Construction Permit.

In fact there is a jazz station called KOJH already — a streaming one in Oklahoma. Though it’s not a licensed radio station, it may have inherited those call letters from one. (I’ve looked, but haven’t been able to tell. Maybe the lazyweb knows.)

Here’s the station’s mission, filed with the FCC.

KOJH will broadcast from the Arts Asylum at Harrison and E. 9th Street. A new tower will go on the building. From there they will radiate a whopping 22 watts at 207 feet above the average terrain, at 104.7fm. It’s a tiny signal that will won’t reach far out of downtown.

Worse, most of Kansas City’s big FM stations have effective radiated powers (what’s concentrated toward the horizon, or populations) of 100,000 watts, and transmit from a collection of towers over 1000 feet tall, just a short distance east of downtown. One of those is KBEQ on 104.3, just two notches down the dial from KOJH. This means you will need a good radio to keep KBEQ from blasting KOJH sideways. Today’s car radios are good enough to keep that from happening. (And will likely get KOJH up to a dozen or more miles away.) Recent-vintage portable and home radios will have a hard time, unless they’re very close to the KOJH transmitter.

(Many manufacturers quit caring decades ago. And now Radio Shack has filed for bankruptcy. Even CEO Can’t Figure Out How RadioShack Still In Business, which ran in The Onion in 2007, has proven prophetic.)

So it is good to know KOJH plans to stream online, because that’s the future of radio.

But there are other stepping stones.

For example, something the Mutual Musicians Foundation might consider doing, while they get underway with KOJH, is buying an AM station that’s dropped out of the ratings. Some possibles, going up the dial:

    • KCCV/760. 6000 watts day, 200 watts night.
    • WHB/810. 50000 watts day, 5000 watts night.
    • KBMZ/980. 5000 watts day and night.
    • KCWJ/1030. 5000 watts day, 500 watts night.
    • KCTO/1160. 5000 watts day, 230 watts night.
    • KYYS/1250. 25000 watts day, 3700 watts night.
    • KDTD/1340. 1000 watts, day and night.
    • KCNW/1380. 2500 watts day, 300 watts night.
    • KKLO/1410. 5000 watts day, 500 watts night.
    • KCZZ/1480. 1000 watts day, 500 watts night.
    • KWOD/1660. 10000 watts day, 1000 watts night.

(Note that wattage is just one variable. Location of the transmitter, efficiency of the towers, directionality of the signal, ground conductivity and frequency all matter too. For example, the lower the station’s frequency, the longer the wavelength, and the better its signal travels along the ground.)

Only three AM stations show up in Kansas City’s latest ratings: KCSP, a sports station at 610am, KCMO, a right-wing talk station at 710am, and KPRT, a gospel music station at 1590am. (With 1000 watts by day and just 50 watts at night, I’m amazed KPRT makes the ratings at all.)

All the un-rated stations listed above put signals across all of KOJH’s coverage area, and then some. Some, such as WHB (a legendary station and signal), may never be for sale. But I’ll bet some others are on the market today, and will only get cheaper.

Music sounds awful on AM, unless the station radiates HD radio encoding. Most engineers I know in broadcasting dislike HD radio and consider it a gimmick. But it does sound quite good on both AM and FM. The difference it makes on AM is amazing.

Loyal listeners of a format will do the work required to get a signal. I’m sure that’s the case with KPRT’s gospel listeners, for example. Now, after stumbling for years, HD radio is picking up with manufacturers. There is a nice list on the HD Radio site. Meanwhile, the market value of AM radio stations, especially ones with no ratings, is crashing to the point where the cost of operating them exceeds their income. (An AM station sucks about twice the wattage off the grid as it radiates from its transmitter.) In coming years many of them will sell for a song.

So those changes — the rise of HD Rado and the decline of also-ran AM station prices — are factors the KOJH folks might want to keep in mind as they fire up their LP signal on FM. Think local, but think big too.

Bonus link.

penrodI used to have an open reel tape of song I recorded off some New York FM station in 1970 or so. It’s long lost now. I didn’t know the artist or the title. It was was half talked, half sung, about a loser in Greenwich Village, “Junkie John,” coming down in a fleabag hotel. Very haunting, which is why I never forgot it.

I didn’t know what it was called or who did it. Every so often I’d ask people who knew music better than than I did, if they knew a song about “Junkie John.” A few said maybe it was a Blues Traveller thing, or John Mayall. But looking down those alleys went nowhere. I figured eventually that it was too obscure, and probably had a title that had nothing to do with what I remembered of it.

But a few weeks ago, at 1:30am here in New York, the song popped into my mind. So I looked up “Junkie John” on Google just for the hell of it, and… Wow:::: found this on YouTube, by Tim Dawe.

It’s the real thing. Amazing. Listen to it. Preferably on good headphones or speakers in a dark room.

Dawe starts the story over a plucked string bass. Very slow, laconic. About a minute in comes a Hammond organ with funeral chords. Then a haunting chorus. Gives ya chills. After about 5 minutes it digresses into a weird psychedelic jazz bridge with more instruments (it seems). Then the instruments drop out and it goes back to just the singer, the organ, the bass, and the end of the story, which seems to have no end, really. (Did Junkie John die, or just come down? Not clear.)

It’s very different listening with headphones today, maybe forty years after the first time I heard it, probably over speakers, probably in the dark, probably in a rural New Jersey house, with the kids asleep in another room.

Here’s the back story, from the CD re-issue liner notes. Funny to learn that the whole story of Dawe, the band, the recording, everybody involved with it, took place in Los Angeles and San Diego, not New York — and that it was a Frank Zappa production, on his Straight label (which had the bizarre stuff, as I recall), rather than his Bizarre label (which, again as I recall, had the straight-ish stuff).

The whole album is called Penrod (which may or may not be Dawe’s real name… also not clear). I bought it on Amazon for $9.49. Now I just need to rip it to the laptop.

Anyway, highly recommended.

Bonus links:

  • http://www.allmusic.com/artist/tim-dawe-mn0001559315/biography
  • http://www.allmusic.com/album/penrod-mw0000745016
  • http://badcatrecords.com/BadCat/DAWEtim.htm
  • http://www.amazon.com/Penrod-Tim-Dawe/dp/B00076Q006
  • https://itunes.apple.com/us/album/penrod/id432722101
  • http://www.ticketmaster.com/Tim-Dawe-tickets/artist/744342

[4:45pm EDST  2 October 2013 — Late breaking news: RadioINK reports that Darryl Parks’ blog post — the first item below — has been pulled off the 700wlw site. — Doc]

In A SERIOUS Message To The Broadcast Industry About Revitalizing AM Radio, Darryl Parks of 700WLW made waves (e.g. here, here, here) by correctly dismissing six FCC ideas intended to make life easier for owners of AM radio stations. Those ideas are detailed at that last link (by David Oxenford of the excellent Broadcast Law Blog).

All six, Darryl says, would increase interference. Instead, he suggests, “The answer is not MORE interference. The answer is LESS interference. And you do that by turning off non-viable stations. And before station owners start crying poverty, many of these non-viable AM stations have one thing that is worth a ton of money. The land their towers sit on.”

Well, not all stations own the land their towers sit on. KCBS/740 leases their land from a farmer up in the North Bay. Other stations’ towers, such nearly all of those serving New York, sit in tidal swampland or on  islands that would revert to nature if the towers came down. (For example, WMCA and WNYC, which share the towers next to the New Jersey Turnpike, shown here. Likewise KGOKNBR and WBZ.)

But Daryyl’s right: there are too many stations, and too much interference — not only between them, but also from electronic thingies that didn’t exist when AM’s base technology and regulatory system were framed out in the 1920s.  Computers, mobile phones and energy-saving light bulbs all play havoc with AM reception.

I see three other solutions, only one of which is likely to happen.

The first is better AM receivers. The old tube and transistor types were much better, on the whole, than the newer chip-based ones. But even the chip-based receivers were better in the early days than they are now. The faults are not just in the electronics, but in the methods used for gathering signals. In cars, for example, the fashion in recent years has been to shorten antennas or to embed them in windows, mixed in with defrosting wires. Radios in cars I drove in the 1960s and 1970s would get New York’s biggest AM signals (on 660, 770 and 880) past Richmond, Virginia, in the middle of the day. The radios were not only better, but served by whip antennas on their fenders. Even portable radios were better. When I was a kid riding in the back seat of our new Chevy, on a family trip in the summer of 1963, I listened to WNAX in Yankton, South Dakota, from the Black Hills to Minneapolis, again in the daytime (when AM signals don’t bounce off the sky, as they do at night — on a Zenith Royal 400 seven-transistor radio. Alas, modern receivers and antennas are studies in cheap-out-y-ness, and don’t do the same job. In the absence of regulatory or market urgings, the chance of improvement here is zero.

The second is moving to an all-digital AM band. In this Broadcast Law Blog post David Oxenford says all-digtial “has shown promise for an interference-free operation in recent tests,” but “would require that there be a digital transition for AM radio just as there was to digital TV. That might be problematic, as it would require new AM receivers for almost everyone (except for those few people who already have Ibiquity IBOC receivers which should work in an all-digital environment).” I have one of those receivers in my kitchen. (That’s a shot of its display, there on the left.) HD on AM sounds like FM. Combine that with better receivers and antennas, and it’s a double-win. Here there is a small amount of regulatory urging, but try to find find a portable HD radio at Amazon or Radio Shack. Not happening.

The third is to develop better ways of getting radio streams on mobile devices. I have a mess of apps for getting radio streams on my iPhone and iPad, and none of them provide the simplicity of radio’s original dial & buttons system. If one app provided that simplicity, radio would move smoothly to mobile along with every other medium already re-locating there. Stations would continue to operate on the AM and FM bands until doing so no longer made technical or economic sense. But the path would be clear.

The one company that might have made this easy is Apple; but Apple has never been interested in improving radio as we know it. For years it buried radio station streams in an iTunes directory most people didn’t know was there — and then created a Pandora competitor with iTunes Radio. Like Pandora, Apple calls its streams “stations,” which also fuzzes things. The old stream directory still exists, for what it’s worth, under “Music.”

So it’s up to app developers. TuneIn, WunderRadio and Stitcher are currently the big three (at least on my devices), but all of them bury local radio deep in directories that are annoying to navigate and often incomplete. For example, let’s say I want to navigate the “dial” for Boston while I’m here in New York. On TuneIn, I hit “Browse,” then “Local Radio,” then find myself in New York. Not Boston. Then I hit “By Location.” That gives me a map I can pinch toward a red pin on Boston, where I find a virtual dial in the form of a list. That’s less work than it used to be, back when TuneIn wanted me to drill down through a directory that started (as I recall) with “Continent.” But it’s also missing all the great discoveries I used to make in local radio elsewhere in the world, such as the UK. (There are red pins only for major cities there.) Over on Stitcher one hits “Live Radio,” then “Massachusetts,” then “Boston” to do the same kind of thing, but the directory is has just three minor AM stations, then a bunch of FMs, but not WEEI/93.7, my favorite sports talker there. Between WBOS/92.9 and WTKK/96.9 there is nothing. All three do offer search, but that’s not easy to do when you’re driving or walking. (Nor is any of the above.)

All of them also assume, correctly (as do Apple, Pandora, Spotify, LastFM and many others), that individuals would rather put together their own “stations” in the form of music types, program collections, or whatever.

Pure optionality is the Internet’s advantage over broadcast radio and TV. And that’s on both the supply and the demand side. (And how anybody can be on either side if they like.) There is no way old-fashioned one-way, top-down, coverage-limited broadcast can compete with that. But it can embrace it.

That’s why individuals being able to do what they want is both the threat and the promise of radio online. Bring back dial-like simplicity to the online world, marry it to “roll your own,” and you’ll have the holy grail of radio.

[December 2021 update] Check out Radio.Garden. It’s not exactly what I describe in that last paragraph, but it’s creative and fun.

Last Saturday evening I was walking up Wadsworth Avenue in Manhattan, a few blocks north of 181st Street, when I passed a group of people sitting sitting on the steps of an apartment building. They were talking, drinking, eating snacks and listening to a boom box set to 94.9FM. A disc jockey chattered in Spanish, followed by music. I noticed the frequency because I’m a lifelong radio guy, and I know there isn’t a licensed station on that channel in New York. The closest is WNSH, called “Nash,” a country-music station in Newark, on 94.7. Given the disc jockey and what little I heard of the sound of 94.9, I was sure the station was a pirate and not just somebody with one of those short-range transmitters you can jack into a phone or a pad.

Before I started hanging at this end of Manhattan I thought the pirate radio game was up. After all, that was the clear message behind these stories:

But where I mostly hang is a Manhattan apartment that is highly shadowed from FM signals coming from the Empire State Building and 4 Times Square downtown. (That’s where all New York’s main licensed stations radiate from.) Between those transmitters and our low-floor apartment are about a hundred blocks of apartment buildings. Meanwhile, our angle to the North and East (toward The Bronx both ways) is a bit less obstructed. From here I get pirate signals on all these channels:

  • 88.1
  • 88.7
  • 89.3
  • 89.7
  • 91.3
  • 94.5
  • 94.9
  • 959
  • 98.1
  • 98.9
  • 99.7
  • 102.3
  • 103.3
  • 104.7 (Same as the busted one? Sounds like it.)
  • 105.5

I can tell most are pirates because they tend to disappear in the morning. Nearly all are in Spanish and most play varieties of Caribbean music. (Which I wish I could understand what the disc jockeys say, but I don’t.)

As for 94.9, here’s how it looks on the display of the Teac 100 HD radio in our kitchen:

Estacion Rika

RDBS is the standard used for displaying information about a station.  The longer scroll across the bottom says “OTRA ESTACION RIKA.” Looking around a bit on the Web for that, I found this page, which says (among much else) “La administración de Rika 94.5 FM  Rikafm.com)…” So I went to RikaFM.com, where a graphic at the top of the page says “‘FCC Part 15 Radio Station’.” Part 15 is what those tiny transmitters for your mobile device have to obey. It’s an FCC rule on interference that limits the range of unlicensed transmissions to a few feet, not a few miles. So clearly this is a claim, not a fact. I’ve listened in the car as well, and the signal is pretty strong. Other links at RikaFM go to its Facebook and Twitter pages. The latter says “3ra Radio en la cuidad de New York Rika fm una estacion con talentos joven cubriendo toda la ciudad de NY musica variada 24hrs.,” which Google Chrome translates to “The 3rd Radio in the city of New York RikaFM a station with young talents covering all the varied music NYC 24hrs.”

To me this phenomenon is radio at its best. I hope somebody fluent in Spanish and hip to Caribbean music and culture will come up here and study the phenomenon a bit more closely. Because the mainstream media (thus far — consider this a shout-out, @VivianYee 🙂 ) is just coving a few minutes of the authorities’ losing game of whack-a-mole.

In mass this morning only two words the priest said during the homily stuck in my mind: it’s alright.

Because they called ZZ Top to mind. Specifically, the song Legs. It beginsShe’s got legs. She knows how to use them. Then the boys sing a bunch of other stuff over this repetitive throbbing riff that sounds like it’s made by thousand-pound bees. At the end of the first verse they sum things up with this: yeah, it’s alright.

A few months back I turned my sixteen year old son on to ZZ Top, starting with Legs, and he got a huge laugh out the alright thing. It might not be deep, but it’s still cool. Meaning: it’s alright.

Here’s the original music video, just so ya’ll know what MTV looked like, back in the decade.

Bonus link.

Parc de la Villette

That’s the Parc de la Villette, also variously known as Parc La Villette, Parc Villette, or just Villette, here in Paris. I shot it two days ago, when we got here and the weather was clear. It got cloudy and wet after that. But it looks like things will clear up for:::::

OuiShareFest

From the About page:

The first major European event dedicated to the collaborative economy.

This three-day festival will bring together a global community of entrepreneurs, designers, makers, economists, investors, politicians and citizens to build a collaborative future.
Paris, May 2-3-4, 2013.

Not just another business conference.

Co-designed with its community, OuiShare Fest will feature a wide range of hands-on activities and great live music.
Day 1-2 will gather 500 professionals and public officials.
Day 3 will be free and open to the public.

Can’t wait.

I’ll be speaking there on Friday morning at 9:30. The title: Markets are Relationships. I’ll be there for most of the rest of the show too. Great line-up of topics, speakers and attendees. After that, it’s Silicon Valley for IIW.

See ya theres.

 

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