Category: Music

If true, then

GOOD.

HERE’S STEVE JOBS’ ORIGINAL ESSAY.

EXCERPT:

Imagine a world where every online store sells DRM-free music encoded in open licensable formats. In such a world, any player can play music purchased from any store, and any store can sell music which is playable on all players. This is clearly the best alternative for consumers, and Apple would embrace it in a heartbeat. If the big four music companies would license Apple their music without the requirement that it be protected with a DRM, we would switch to selling only DRM-free music on our iTunes store. Every iPod ever made will play this DRM-free music.

Why would the big four music companies agree to let Apple and others distribute their music without using DRM systems to protect it? The simplest answer is because DRMs haven’t worked, and may never work, to halt music piracy. Though the big four music companies require that all their music sold online be protected with DRMs, these same music companies continue to sell billions of CDs a year which contain completely unprotected music. That’s right! No DRM system was ever developed for the CD, so all the music distributed on CDs can be easily uploaded to the Internet, then (illegally) downloaded and played on any computer or player.

In 2006, under 2 billion DRM-protected songs were sold worldwide by online stores, while over 20 billion songs were sold completely DRM-free and unprotected on CDs by the music companies themselves. The music companies sell the vast majority of their music DRM-free, and show no signs of changing this behavior, since the overwhelming majority of their revenues depend on selling CDs which must play in CD players that support no DRM system.

So if the music companies are selling over 90 percent of their music DRM-free, what benefits do they get from selling the remaining small percentage of their music encumbered with a DRM system? There appear to be none. If anything, the technical expertise and overhead required to create, operate and update a DRM system has limited the number of participants selling DRM protected music. If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies.

A piece back I decided I wanted to listen to some songs by the Beatles, so I went to the iTunes music store and typed in their name. Know how many songs were available for download?

Absolutely none.

The Beatles, y’see, (technically, Apple Corps, which is responsible for looking after their copyrights) has not allowed their music to be made available for download.

So I just got the songs I wanted on CD and ripped them.

This is not the first time the Beatles have been behind the technological curve. They were also one of the last bands to make their work available on CD.

C’mon, guys! Don’t stay stuck in the ’60s!

The Beatles, however, are not the only big-name act that hasn’t wanted to allow its fans to be able to (legally) download its music. Others include Bob Seger, Led Zeppelin, Metallica, Garth Brooks, and Kid Rock.

But the times, they are a-changin’!

The number of pod people out there has now become so vast that these last few holdouts are starting to recognize that their struggle is futile, and they are beginning to surrender.

Bob Seger and Metallica have now joined the revolution, and the writing is on the wall for the rest of them:

But bands can no longer risk losing out on sales and marketing generated from the digital formats, especially on iTunes, said Phil Leigh, an analyst with Inside Digital Media, a market research firm. With CD sales continuing to drop, it’s only a matter of time until the last holdouts give up, he said.

GET THE STORY.

So, special message for the Beatles . . .  YOU’RE NEXT!

There have been a lot of sightings lately of the recently-deceased Johnny Cash. No, he hasn’t been backing-up Elvis at Memphis honky-tonks. His music has been selling like hotcakes.

"In life, Johnny Cash was merely a legend. In death, he is proving immortal.

"Almost three years after he died at the age of 71 after a decade of poor health, the country outlaw is the most popular artist in the United States, currently at No. 1 on the pop and country charts with an album of new material.

"The album, ‘American V: A Hundred Highways,’ recorded in Cash’s final months as he looked forward to reuniting with his late wife, June Carter Cash, sold 88,000 copies in the week ended July 9. It’s his first chart-topper since 1969’s live prison album ‘Johnny Cash at San Quentin.’"

GET THE STORY.

I suppose most of the Cash fans these days hopped on the bandwagon with the success of the bio-flick Walk the Line. Having grown up in a family of country-music lovers, I liked Johnny Cash before it was cool to like Johnny Cash. Some of my favorites are A Boy Named Sue, Ring of Fire, and One Piece at a Time.

[JIMMY ADDS: Those are three of my favorites, along with Folsom Prison Blues.]

The only thing that ever really annoyed me about Cash was not Cash himself but the idealization by many people of his marriage to June Carter Cash … a relationship that began when at least one of them was married to someone else. I forget the full details of their "love story" but my repulsion at the popular idealization of adultery is one of the reasons I skipped Walk the Line when it was in theaters. (To be perfectly clear, I’m not saying anything here about Johnny and June Carter Cash. My disgust is with those who seemed to think their marriage one of the Greatest Love Stories of All Time.)

As a side note, reporters can be a real hoot sometimes:

"Almost three years after he [Cash] died at the age of 71 after a decade of poor health…"

Wow, whoever heard of dying after a bout with "poor health"? And here I thought that only the healthy died.

Down yonder, a reader writes:

I would like to see someone write a long article on the strange combination of traditional values like patriotism, family and a faith that plays right alongside praising infidelity, praising being drunk and Tim McGraw’s ambivalent song about abortion. There seems to be a strange disconnect among Country singers and their fans who can sing along with Restless Heart’s "Why does it have to be wrong or right?" one minute and then switch to "Believe" by Brooks and Dunn the next.

It’s like reading Cosmo and Inside the Vatican and not seeing any conflict.

Weird.

I think I can shed some light on the paradox. The reason for it is very simple: Country music is a form of folk music.

Folk music, by definition, reflects the interests of a particular people or "folk." Since there are saints and sinners in every group, folks music invariably includes songs that appeal to both. By its nature, folk music is broadly reflective of whatever the particular folk is interested in, which includes things like their religious lives, their families, their romances, their jobs, their frustrations, and their entertainments. The particular mix of these topics will vary from culture to culture and from time to time even within a particular musical tradition, but the same topics show up over and over again, just in different ratios.

Folk music can be distinguished from more selective musical traditions which are more polarized topically. Religious music–particularly those song that are sung in church–for example, is very, very narrow topically. Perhaps it’s the most narrow genre of music that shows up in each culture since it is devoted to the holy, which by definition is set apart from the ordinary.

Children’s music is also quite narrow in topics because its target audience is only just learning about life and the music created for children is focused on what children are interested in (e.g., animals, the jobs of the adults they see around them) and what is considered appropriate for them at their age.

Classic rock and roll, which received its foundational imprint as music for mid 20th century adolescents and young adults, is also narrower in topic than country music since its target audience hasn’t really come to terms with life as adults. It’s also marked by the obsessive interest of young males with a few particular topics (e.g.,  dating, sex, cars, rebellion against authority). It also shows notable traces of the particular era in which it was formed (e.g., songs about drug abuse rather than alcohol abuse).

Country music received its foundational imprint as music for traditional American adult society, which has historically been rural and religious. This means that you get some songs that are heavily religiously themed but also songs about sin. Since people struggle with their sins, you get some songs that reflect the struggle ("Why Does It Have To Be Right Or Wrong?"). Since people also give themselves over to their sins, you also have songs that glorify sinning ("Get Drunk And Be Somebody"). Since people get hurt by others’ sins, there are songs about that, too ("Your Cheatin’ Heart"). And there are songs that morally censure sinning ("Wreck on the Highway"). And songs from the perspective of those hurting under their own sins ("Honky Tonk Blues"). And songs that worry about whether people will escape from their sins ("Will The Circle Be Unbroken?").

You even get some songs that are like something from a Flannery O’Connor story (e.g., the Dixie Chicks’ "Goodbye, Earl" or Rock County’s "Turn It On! Turn It On! Turn It On!").

It’s a big, complex mix because folk music reflects the lives and struggles of the folk it represents. It includes both the good and the bad, leading to the paradox of amazingly powerful spiritual songs right next to ones glorifying sin.

That’s not to say that people to whom the folk music is addressed like all of the songs in the tradition. Religious country music fans frown on the glorify sin songs. Irreligious country music fans may roll their eyes at the  religious songs. But the mix is there because the music represents a folk and the folk itself is mixed. Some fans appreciate both kinds of songs because both reflect their lives and aspirations.

The paradox seems particularly striking if one is used to music that is topically more narrow (e.g., used to only religious music–which has the holy stuff but leaves out the sin-oriented songs–or used to rock and roll–which is more oriented toward the sinful stuff and tends to leave out the holy most of the time).

But the paradox of modern country music is normal in folk music. If you go back and listen to 19th century American folk music, the exact same themes are there: You’ve got explicitly religious songs and ones that hit the standard life and sin themes. "Ol’ Rosin the Beau" glorifies a reprobate who dies and goes to hell and drinks whiskey with the devil. "Soldier’s Joy" has alcohol/drug abuse in it ("It’s 25 cents for the morphine/It’s 15 cents for the beer/It’s 25 cents for the morphine/Gonna drink me away from here"). The original, pre-War version of "Dixie" has adultery in it ("Old Missus married Will the weaver/William was a gay deceiver . . . Old Missus played the foolish part/She died for a man who broke her heart"). "Sweet Betsy From Pike" has implied extramarital sex and possible illegitimate preganancy in it. "Buffalo Gals" and "The Yellow Rose Of Texas" are about being attracted to the opposite sex. "Cindy" is about the opposite sex being attracted to you. "Lorena" is about lost love and missed opportunities. The "Boatman’s Dance" is about glorifying a particular job/lifestyle.

And the same is true of folk music in other times and cultures. Back in the Middle Ages they had all kinds of religiously themed songs, but they also had drinking songs they’d sing in the taverns. And songs about romance and sex and loneliness and hardship and everything else that is part of the human condition.

Because that’s the paradox of true folk music: It reflects the paradox of the fallen human condition.

As to the paradox of why particular singers will sing both religious songs and those that glorify sin, the answer to that is simple also: They’re doing what singers have always done . . . trying to make money.

Incidentally,

MUSINGS FROM A CATHOLIC BOOKSTORE ALSO HAS A DISCUSSION OF THIS GOING.

Since I was talking about music earlier today, I may as well touch on this story as well.

To the left is the cover of the Dixie Chicks’ new album, Taking the Long Way, which is their first new album since they shot off their mouths in a spectacularly rude way at a specutacularly bad time that was sure to alienate their country music audience.

GET THAT STORY IF YOU DON’T KNOW IT.

They could have recovered from that, but instead they issued a string of smouldering non-apologies and eventually appeared–bizarrely!–on the cover of Entertainment Weekly stark nekkid with inflammatory words and phrases painted on their bodies.

That ain’t really the country thing to do, and their fans turned their backs on them.

Now, personally, I don’t care if they hold the opinions of President Bush that they expressed in England. I’m not happy with President Bush, myself. But to say what they did (that they’re ashamed that the president is from Texas) when they did (in wartime) where they did (on foreign soil) to whom they did (Euro liberals) was sure to hack off the people who bought their records, and following it up with a bunch of non-apologies and bizarro stunts LIKE THIS (skin warning!) was utterly contemptuous of their core audience.

In other words, they were alienating their base.

So, three years later out comes their first new album and their label starts pitching it to country music stations and with news stories being written with headlines like "Dixie Chicks Return To Country Radio."

So have three years changed things? Is all forgiven? Will their country fans start listening to them again?

A precondition for forgiveness is repentance, and with defiant, in-your-face songs on the album like "Not Ready To Make Nice"–a contemptuous stab at those who were offended by their actions three years ago–it’s clear that the Chicks have some repenting to do if they want to be forgiven by their country fans.

AND SO THE ALBUM IS GOING NOWHERE, MANY STATIONS AREN’T PLAYING ITS SONGS, AND THOSE THAT ARE ARE GETTING COMPLAINTS.

Good.

I used to listen to their songs–I particularly liked "Goodbye Earl"–but the Chicks showed themselves to be a bunch of spoiled girls who have never grown up. I have no interest in listening to their songs because I will have no ability to enjoy them until they can adopt an attitude other than contempt for those who gave them their success by buying their albums and supporting them and their careers.

A basic rule of getting along in life for public figures is "Don’t show contempt for your base."

That’s a principle Mr. Bush ought to learn if he’d like his reputation to fare well in the long term, too.

See the guy in this picture?

That’s Moondoggie from the Gidget movies, and it’s Gidget he’s standing next to.

Moondoggie was played by a teen idol of the day known as Jimmy Darren (who was popular enough that he later appeared in animated form on The Flintsones as Jimmy Darrenrock.)

As part of his teen heartthrob career, Jimmy recorded a number of albums.

But he moved out of this phase of his career (as teen idols tend to do). He tried to move on to more "serious" roles, like this one . . .

Here he is as Dr. Tony Newman, one of two time-travelling scientists on the Irwin Allen thriller TV show, The Time Tunnel.

I recently blogged about the release of the DVDs of that series, which I was a fan of as a boy.

This was the role in which I first became aware of Jimmy Darren, though I had no clue who he was in real life any more than I did any actors I saw on TV at the time.

During this period of is career he also went for "serious-er" roles than that of a time-travelling scientist, such as Pvt. Spyros Pappadimos in The Guns of Navarrone.

I like The Guns of Navarrone, but I was oblivious to Darren’s role in it, too. It wouldn’t be until he started performing another role that I really became aware of who he was.

That role–which is the one for which I’ll always best remember him–is this one:

Here he’s appearing as the holographic 1962 lounge singer Vic Fontaine on Star Trek: Deep Space 9.

This was a great role for him! It drew on his musical and sci-fi background and he did an absolutely outstanding job as a suave, wise, strong, and (once in a while) vulnerable lounge singer who could really sing.

There was also some irony to the role since in the imaginary 1962 world that Vic inhabited, he sang at a Vegas nightclub and hung with members of the Rat Pack like Frank and Dino and Sammy–and in real life the actor Jimmy Darren was a close friend of Frank Sinatra.

The Vic Fontaine role came along at an important point for Darren and allowed him to re-enter the kind of musical world that he had worked in at the beginning of career. His role on DS9 proved so popular that not only did he become a virtual regular on the show (in more than one sense of the term), it also re-launched his career as a singer.

After the show he started recording albums again, and a number of his older ones have been re-released.

In fact, there’s ten of ’em on iTunes for download right now (search on the term "James Darren").

I haven’t heard all ten, but if you enjoyed his singing on DS9–or if you just like really well-sung American standards in the Frank Sinatra/Mel Torme tradition–then I’d like to recommend one album in particular: This One’s From The Heart.

This is the first album he did after DS9, and as a thank you to the fans of the show who would form a key part of its purchasers, it includes virtually all the songs he sang as Vic Fontaine–only this time without them being interrupted for story or covered over by dialogue or cut short for time.

Here’s the playlist of standards it includes:

"The Best Is Yet To Come," "Come Fly With Me," "That Old Black Magic," "All the Way," "It’s Only A Paper Moon," "I’ve Got the World on a String," "You’d Better Love Me," "Sophisticated Lady," "Just In Time," "I’ve Got You Under My Skin," "The Way You Look Tonight," "Here’s to the Losers," "You’re Nobody Till Somebody Loves You," "Dancing in the Dark," "Night and Day," "I’ll Be Seeing You," and "Satin Doll."

That’s quite a lineup! And Darren’s rendition of these songs is excellent.

I have a bunch of the same songs done by Frank Sinatra, but despite Sinatra’s undeniable mastery of this form of singing, I find that I enjoy Darren’s versions better. Darren’s voice has a more velvety quality, like Mel Torme’s, compared to Sinatra, and this makes it warmer. This kind of Rat Pack singing requires the singer to project a kind of strengh through his voice, but there are different kinds of strengths, and if you listen to Sinatra’s voice he at times projects a cruel streak.

Darren, by contrast, projects a friendliness and warmth, even when the song would lend itself to a cruel treatment. For example, a personal favorite are the songs "You’d Better Love Me" and "Here’s to the Losers," both of which have to be handled just right or the singer comes off sounding aloof and arrogant. That’s how Sinatra might do them. But in Darren’s hands, "You’d Better Love Me" sounds friendly and playful and "Here’s to the Losers" sounds compassionate and optimistic.

Not every song on the album is a winner to my mind. I don’t really like "Sophisticated Lady," for example. (It’s a slow song, and I have a constitutional aversion to slow songs.)

Growing up when I did, I didn’t discover this type of music until I was an adult. Back in high school, singers like Frank Sinatra were considered square, but when I grew up enough to appreciate types of music that weren’t popular with my high school buddies, I came to appreciate this genre.

Unfortunately, it’s a little hard to refer to because there isn’t a standard name for it. Some are calling it "classic pop" (i.e., the type of music that was popular before rock & roll). Others are calling it "pop standards." Or "lounge music." Whatever you want to call it, there’s just something comforting and classy about this type of music.

Overall, Darren’s This One’s From The Heart is an outstanding introduction to and example of the genre, and I’d heartily recommend it if you were a DS9 fan, if you’re a lover of this style of music, or even if you’ve never really gotten into this style of singing and would like to see what the fuss was about.

Enjoy!

Nick Alexander has a new song out.

For those who may not be aware, Nick Alexander is a musician doing the Weird Al Yankovic schtick in a Catholic vein.

His latest song is "This Time Of Forty Days," based on the Police song "King of Pain."

It’s available for download on the Catholic Music Network and makes suitably lighthearted listening for Fat Tuesday (before we get all serious on Ash Wednesday).

CHECK IT OUT.

No, really!

They’ve just released a new album and will be performing live in four different U.S. cities as part of a reunion tour!

Even though John and George are dead!

Oh, wait.

No, it’s not the Beatles that have just done that. It’s the St. Louis Jesuits.

The who?

No, not The Who. The St. Louis Jesuits–a group of "musicians" who in the mind of some people apparently have the same status in liturgical music that the Beatles do in actual music.

The Catholic News Service writes:

The St. Louis Jesuits, liturgical music icons from the 1970s, are back together and have released their first album in more than 20 years.

"Morning Light" is the seventh recording for the St. Louis Jesuits — Dan Schutte and Jesuit Fathers Bob Dufford, John Foley and Roc O’Connor — who were known for such songs as "Blest Be the Lord," "Lift Up Your Hearts" and "Sing a New Song."

In the mid 1980s, various assignments moved the men to different parts of the country, and Schutte left the Society of Jesus.

Since that time, all four have released successful solo CDs.

The four met up in 2001 at the 25th anniversary celebration of the National Association of Pastoral Musicians in Washington, where they sang Schutte’s "City of God." It was the first time in 17 years that they had performed together live.

Tim Manion, one of the original St. Louis Jesuits, joined with the four to sing for some of the recordings. Father Dufford and Schutte hadn’t seen him in 21 years and Father O’Connor hadn’t seen him in eight.

Fans of the St. Louis Jesuits’ music will find comfort in the songs on "Morning Light" as its sound is much the same as their earlier sound.

In the spring, Fathers O’Connor, Foley and Dufford and Schutte will do four live performances in Washington, St. Louis, Chicago and Anaheim, Calif. The group hasn’t done any public performances together in nearly 20 years.

"It’s our little reunion tour," Schutte said.

Setting aside the (intentional?) religious/secular pun of calling these individuals "liturgical music icons," the whole "rock star" paradigm that governs this article and how these malefactors are perceived speaks volumes about the current rot that passes for liturgical music.

GET THE STORY.

JOIN THE RESISTANCE.

PEEP THIS, TOO.

A new Catholic music network–creatively titled Catholic Music Network–has now developed an online download service to provide Catholic tunes for download in .mp3 format (playable on virtually anybody’s computer if you have Windows Media Player, RealHorror, or Quicktime or playable on your portable device, such as an iPod).

Priced at 99 cents per tune, they’re competitive with iTunes–the media leader in this biz.

And, just in time for The Holiday, many of them are Holiday tunes! (Only without the political correctness.)

Check ’em out and

PARTY ON DUDES!

And Be Excellent To Each Other this Holiday season!

It’s been a hard last couple of months for President Bush.

It’s been difficult for the White House to get its message out, but it seems that some people have heard it.

President Bush will be pleased to hear that he has some enthusiastic supporters.

AND IN BERKELEY NO YET. (.mp3)
(CHT Southern Appeal.)