| Monday, April 28, 2003 |
00:52 - So it's not my imagination
http://capitalistlion.com/article?449
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The first few AAC tracks I downloaded from the iTunes Music Store for testing purposes today were by Billy Joel and Paul Simon; as soon as they started playing, I knew something was very different. The drums didn't sound like they were coming from three or four inches to my left or right, like I was used to; they sounded like they were coming from OUTSIDE ON A BIG STAGE TO MY RIGHT or SIX FLOORS DOWN ON MY LEFT. It was seriously that different. The sound was deep, rich, full, and live. I was used to MP3s that sounded-- well, not bad, but just sort of... dull, and flat. This was nothing like those. It sounded like I remember analog tube amps sounding back when I was first growing up and listening to these same songs on my parents' stereo.
Surely it couldn't have been simply that these songs I'd chosen happened to be recorded more richly at the studio than all the rest of my music, could it?
Well, no. It's AAC, as CapLion helpfully explains.
Most MP3's that you'll find through file sharing networks employ a Joint Stereo audio track. Joint Stereo is an attempt at reducing the size of a file while still retaining "stereo" signals. In a joint stereo file, the compressor takes advantage of the fact that both stereo channels contain mostly the same information most of the time. So, when the two channels are similar, instead of compressing both a Left and Right channel, it adds the two together and produces a middle (L+R) and a side (L-R) channel. This allows a reduction in the final size of the file by using less bits for the side channel. During playback, the decoder will reconstruct the left and right channels from the middle and side data.
Sounds great, right? Well, not really, because when the middle and side channels are created, a lot of information from the original Left and Right channels is lost. This lost data generally ends up being subtle harmonics and tonal depth, and without it, you end up with a flat sound.
Ahh, right. What he said.
Dammit, now I have to re-rip all my music into AAC.
But not just yet; there's so... much... 80s music! So much downloading to do!
UPDATE: Aw hell... there's the e-mail invoice for today's music purchasing frenzy.
$10.89.
For what would normally have cost me around $50 in whole CDs, most of which I didn't actually want, plus gas and time.
UPDATE: Chris has a few more details:
The 'joint stereo' is usually applied to low frequency effects, because the ear can't tell whether it's coming from the left, or right, as much as middle or higher frequencies. This is why you can put your subwoofer off to one side and still have a good stereo environment.
However, the key is the 'as much' part. It's not a straight cutoff, but a lowering of the spatial perception as the frequencies get lower. I'm sure different people have different cutoffs, too, so the whole 'joint stereo' thing is an approximation; much better to just KEEP them separate, if you have the bandwidth to spare.
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00:43 - There's no use hiding from meeee!
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Aha! I spy me another camouflaged iBook on TV, this time in an ad for a Nokia videophone:

You think you're soooo clever, don't you, Mr. Ad Agency? Hah-- your paltry disguises are no match for my superhuman pettiness and legendary lack of anything better to do.
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18:36 - All becomes clear
http://www.apple.com/music/
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The questions about Apple's new music service appear to be answering themselves.
After a period of several hours today when it was just about impossible to push any search/browse queries through, or to log in to one's charge account (as others have noticed), the iTunes Music Store now seems to be clicking along quite smoothly. I've downloaded several experimental tracks-- hey, at a dollar a pop, it's at a price point where I don't mind the exploration fee-- and with the exception of a few obscure bugs in things like dialog box redraws when switching application panes, there seem to be no big problems with the service itself. Nice crisp audio, encoded at a bitrate that gives somewhat clearer sound than MP3 and at 80% the file size. I can get behind that.
The selection of available music is sort of weird. The large majority of content appears to be from the Universal/Vivendi label, which shouldn't come as much of a surprise; but that doesn't account for nearly all of it. There's stuff from just about every label on here. But there are some striking omissions; I'm sure every reviewer in the world will give 'em hell over the lack of any Beatles albums. (Just wait for the gleeful "Apple Records" insights to flow...) Judging by the "Coming Soon..." signs on a lot of artists' search-result pages and purchase association boxes, I suspect that the database is not completely populated yet, and the labels are probably watching today's searchin'-and-purchasin' dynamics very carefully to see whether they want to dive in all the way or beat a hasty retreat. If the morning's sluggishness is any indication of heavy usage and commerce volume, I should think we'll be seeing a greater selection very shortly. I'm not worried about that.
What's been more of a concern to those of us who have been eyeing this development with some alarm is the implications of DRM and the music sharing/personal privacy argument. How would Apple solve this? How did they make this service attractive to the labels, and yet ensure that users would not toss it aside as too onerous and cumbersome and invasive to put up with? Apple customers, taken as a whole, are a demanding lot; for a platform that has a reputation for being full of novices, the numbers these days are such that Mac users tend to be more savvy and well-educated in the ways of the digital age than the average extremely casual Windows user, a demographic that makes up a huge silent majority. More Mac users than Windows users, by percentage, will shun things like AOL and MSN and anything that looks like them.
So Apple knew they had to win these people over; just because Mac people are so fanatically supportive of Apple doesn't mean they won't crucify Steve over a ham-handed and abusive music service that embodies every fear they associate with Microsoft. (Witness the flap over Sherlock 3 and Watson, which still is making waves and generating resentment.) What they've come up with appears to be very much in the spirit of Safari: laid-back, convenient, helpful without being intrusive, and actively trying to minimize the annoyances we all hate about e-commerce: just as Safari has built-in pop-up blocking, iTunes' Music Service has no pop-ups or banner ads. Just searchable and clickable titles in pleasant layouts, an easy hierarchical architecture, and "Buy Song" buttons integrated into the standard iTunes interface.
So, that's all well and good. But what about the DRM? Surely Apple doesn't just let you download songs and then run amok with them...?
Nope. You get three computers on which to play your music. Three. This is enforced as follows:
You login to the system using your Apple ID, which can be your ID from the Apple Store or your .Mac account; you associate it with a credit card and set up the linkage. Then you download a track (the default behavior is "1-Click"-- you can also choose to use a shopping cart workflow); it goes straight into your Music Library. It's an .m4p file, or "MPEG-4 Protected" (as opposed to .m4a, or "MPEG-4 Audio"). This file is tagged with an encrypted signature which locks it to your Apple ID account. This signature can only be locked/unlocked by entering your password and sending a query to the central Apple server. So they have a central key database; this is the kind of thing we've always worried about when hearing about .Net and Hailstorm and so on, warning of the dire danger of such a rich hacker target. But the key database is only half the security equation; I'll leave it up to the security experts to decide how vulnerable the system is, as implemented here. It doesn't seem like it's that terrible, on the face of it.
So then, let's say you want to take that .m4p file and play it on another computer. You can do it one of two ways: share it through automatic streaming ("Music Sharing"), or copy it. If you enable Music Sharing, you open up your laptop, and the playlists on your other machine show up among the data sources. You can then go and double-click on the song to play it. But iTunes notices that it's a protected AAC file; it checks and finds that your laptop is not authorized to play songs tagged for your account. So it gives you an authentication box; you put in your password, and it unlocks your account for that computer. Now you have two of your authorization "slots" used up. (The first becomes used on the first machine as soon as you play your first downloaded song.) From then on, you can play any music downloaded through that account on either computer.
It's the same if you copy the actual .m4p file over. You can open it up in the Finder's Preview pane and play it; but unless the OS has been unlocked for your music account, even the Finder won't be able to play it; it pops up a dialog asking you to authorize the computer through iTunes (there's an "Open iTunes" button). Once you authorize it, the song starts playing in the Finder. So that's how you'd go about moving your whole file collection from one computer to the other.
Because you can "deauthorize" computers, too. You get three "slots" for authorized computers, which you can dole out and reapportion at any time. You can go to Advanced->Deauthorize Computer and enter your password to lock the .m4p files back up; then you get a slot back, and you can assign it to a different computer, like if you wanted to share music with someone else's computer at work for a brief period.
I like how they came up with the number 3 for the total number of authorizations; in the Help, it talks about listening to music on "your home iMac, your iBook, and your work computer". What, are they looking over my shoulder or something? This sounds like a perfectly reasonable number of Macs for a person to use simultaneously, beyond which Apple and the labels can reasonably start to wonder just how much use you're getting out of those downloaded tracks.
(You now have the choice to rip songs from CD as AAC files, by the way. If you do, they're created as .m4a files, and they're not locked in any way; you can share them freely via Rendezvous, e-mail, LimeWire, whatever. You can continue to import in MP3 as well.)
Apple has struck a very workable balance here, I think. This isn't pay-for-play, or some dumb scheme like that; but neither is it so free and unfettered as to drive away the labels. This isn't a vampire tap into the user's checkbook, but nor is it a business non-starter. It's somewhere in between.
And it's clear that Apple's goal here is not to hobble the everyday legal user of music, or to suck his wallet dry at all opportunities, but to hamper the mass-producers and broadcasters. They've implemented blocks and security technologies which you can work around, but not without a lot of effort. You can copy .m4p files all around the office, and enable them one at a time for each person (though never more than three at once), but the incentive for that is nil. Just as you can poke and prod at an iPod until it can be used to ferry MP3 files from one computer to another; but who wants that kind of hassle? Most users won't even want to do that, and those who want to make mischief will find themselves tripped up. Apple's figured out that the best kind of DRM is the kind that doesn't get in the way of law-abiding users, but does get in the way of would-be flouters of the rules. And they seem to have worked to that design spec.
Another example of that is the fact that you can only burn ten copies of a given unaltered playlist. After that, you can shuffle the tracks around, or re-create the playlist; but that takes some work. (Plus it might keep a database of past playlists, so even if you create the same one over again, it might recognize it as the same thing you had before.) Fine, someone says-- I'll just keep changing the playlist! Yeah, but that sort of defeats the purpose of a mass-produced bootleg, doesn't it? Again, this isn't a block that's impossible to work around; but it does trip up the scriptability of second-hand mass production. Same with how you can burn CDs of individual songs all you like-- the casual user gets that functionality without restriction, but that doesn't exactly provide a honeypot of a weakness to someone trying to bootleg. Or you could register tons of Apple IDs, but that's not exactly automatable, and they all have to be tied to a credit card, so what's the point? And finally, you could simply resample the audio stream to an MP3 with an audio loopback cable; but you could do that with a CD, even a copy-protected one. The point is that the only kind of piracy you can really get away with is small-scale, laborious stuff; there are enough monkey-wrenches present to counter large-scale piracy that it's unlikely to be an issue.
And in the meantime, the system works really well-- it's design is simple yet sophisticated, effortless yet satisfying. People are going to enjoy using this service, and even enjoy paying for it. The incentive to pirate will be greatly diminished, and that's the real key.
When the labels reportedly said, "This is what we've been waiting for"-- it may well have been code for an understanding of the digital age in which they realized that they wouldn't be able to extract payment for every single track, every single playback; but they would be able to continue to exist and even thrive, if only they backed a technology that people wanted to use even if it contained security technology. As long as those security features didn't hinder people from enjoying the product, all they really had to do was stick the occasional twig into the spokes of those who would take advantage of the system. That seems to be exactly what Apple's done here.
I have yet to really start to use this system, but I'm sure I will. I wasn't wild about the idea of DRM in the first place, and I'm still not; but let's talk about the spirit of the thing. Just as UN Res 1441 was all about the spirit of cooperation, of Saddam's acting in good faith to provide inspectors with evidence of compliance with previous UN resolutions, rendering the actual implementation rather moot-- Apple's understanding of the spirit of proper DRM and listeners' rights here seems to transcend the binary support or abhorrence of any and all DRM. They're actively trying to "do the right thing", here, and make some money while they're at it. I'd say they get plenty of points for making the effort under such a banner. It could have been a whole helluva lot worse, after all. This may be the closest thing to "the best of both worlds" as we've seen in a while.
I'm getting excited about acquiring music again, for the first time in ages-- and from what I'm hearing, I'm not the only one.
UPDATE: Oh yes: What happens if you pay for a song, but then your Net connection gets cut off before you can finish downloading it? Good question. Apparently the credit-card transaction occurs at the time you click to begin the download; but Apple records whether the download completed successfully, so you can then go back with the Advanced->Check for Purchased Music option, and if there's anything pending, you can re-download it. However, there doesn't seem to be a facility to re-download tracks that you are "entitled to"; you can, if you choose, pay for a song a second time. It doesn't protect you against the loss of all the copies you might have of the file; that's your responsibility.
UPDATE: Here's some info from Apple on the authorization/deauthorization process. One interesting bit:
Note: Initializing the drive will not deauthorize the computer. If you will be initializing the drive, deauthorize the computer first, then initialize the drive.
So the authorization status survives a drive reformat? I guess that means the status is governed by the central server primarily; I guess it also means you can't fool the system if you take a computer that's been deauthorized, then restore its disk image from a backup that still thinks it's authorized (and then never connect to the Music Store again). I wonder how this is done...
Another UPDATE: Several people have called my attention to the fact that the Music Store has a "Request" mechanism-- three links down on the main screen, you can fill out a form to request that they add your suggested artist, album, song, genre, or whatever. No real indication of how binding that would be-- but it tells me that the selection is bound to start blossoming in the near future. The current omissions are presumably a result the taste of whoever made the initial selections for populating the database, rather than any contractual obligations.
Cool.
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12:35 - Help! I'm behind again!
http://www.apple.com/music/
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Well, well, well. It seems all the rumors were true, even the really off-the-wall ones.
Apple has released its new music service-- the iTunes Music Store-- along with a new version of iTunes; and there is a new iPod, pretty much exactly as Think Secret described it, with 10/15/30GB sizes, a docking station, reorganized buttons, a smaller profile, and USB 2.0 support. (Yes, USB 2.0.)
And what's more, it seems my current iPod is now officially obsolete. I've installed the new iPod firmware (v1.3), which supports AAC playback and the iTunes Music Store, but so far the only big change I can see is that now the "Backlight" option appears right on the main menu. Everything else is the same.
Presumably you have to buy a new iPod to get all the new PDA features-- I guess there's more RAM capacity in the new ones or something. But yes, PDA capabilites. The iPod is now officially a PDA, so it would seem. There's now a note viewer, an alarm-clock function, three different games (including Solitaire! Solitaire finally comes to the Mac!), and a number of music-playing functions that previously were iTunes-side-only have now been enabled on the iPod. Now you can rate songs on the fly (the 1-5 stars scale), and create "On-The-Go Playlists" which seemingly sync up with iTunes once you're done. None of this stuff is on my lowly, year-and-a-half-old 5GB scroll-wheel iPod. Daawww.
(Seriously-- I don't know what I'll do with it if I get a new one. I can't bear to throw it away.)
The USB 2.0 support is interesting; it's clearly a bone thrown to the Windows side, but it means the new solution to connectivity can be fairly tidy: a single docking-station port on the bottom of the iPod, with both FireWire and USB 2.0 built-in. (Presumably, this means they can release FireWire 800 support in the future, with just an iPod firmware update, and all you'll have to replace is the docking station. Nice.) But it's also Apple's first tacit acknowledgement of USB 2.0, and it's on the iPod first, before any actual Macs. My guess is they still want to wait until FireWire 800 is present across the board before they add USB 2.0. It'll be a good checkbox item to have once they do.
Anyway, iTunes 4 has those new, flat iMovie3-like buttons, and seems to work the same as it always did; but now it's got a number of extra little nifty enhancements and rough edges sanded off. It now displays album art, for instance, and it has full AAC support (if you have QuickTime 6.2). There's a whole slew of new controls to deal with in the Music Store data source. But one thing I'm pleasantly surprised to see is "Shared Playlists"-- remember back when Jaguar was on the way, and they showed a demo on stage of two TiBooks sharing iTunes playlists with each other via Rendezvous? Jobs and Schiller walked to within AirPort distance of each other, and their Macs immediately discovered one another and started streaming music upon request? Then Jaguar was released, but that feature wasn't to be found in iTunes 3-- all Rendezvous appeared to be useful for was iChat, and creating personal web server pages. Whenever I talked to anybody in an Apple Store or on an expo floor, all they could tell me was that maybe the RIAA had shaken a few fingers at Apple and told them not to implement that feature. Music-sharing and all that-- evil, y'know.
But now it's in iTunes 4, just as previously advertised; and when you enable Music Sharing in the Preferences, you get a dialog box that says "Remember: Sharing music is for personal use only." So perhaps they're still treading that ragged edge of official legal sanction.
As they must be with the iTunes Music Store itself. Man... what an ambitious venture this is going to turn out to be. There's a ton of stuff available, as one might expect; it's all for a dollar a track, with full-quality 30-second previews available for all songs (selected judiciously from within the song, not just the first 30 seconds), "Hot Picks", featured lists, and all the rest. There's a column-view-esque browser view, as well as basic and advanced search functions. It all looks very large and a bit intimidating; they've made it look very pretty, but it's going to take some getting used to. Anybody from the Napster Generation is going to have to adjust to the idea of selecting music tracks of guaranteed quality, using an easy and yet sophisticated search scheme, to download exactly the music they want at very affordable cost from the actual vendor. Wow. What a concept.
Out of the gate, it looks like the service has a few bugs to work out. The installer process needs a little soak time; the Music Store requires iTunes 4, and iTunes 4 requires QuickTime 6.2, and downloading each of those manually from the website gives you an admonishment to "Nex time use Software Update"; but Software Update, as of today, makes no mention of either update being available. (Besides which iTunes 4 seemed to run fine without QT6.2.) And the Music Store service itself seems to be rather swamped. I keep getting timeout errors (or something-- Error 504?) on database queries, and I can't seem to log in using my Apple ID. I think either they massively underestimated the load they'd be sustaining (wouldn't be the first time), or the system is woefully untested (again, wouldn't be the first time). But infrastructurally and logistically speaking, this is a huge undertaking, and I would have been far more surprised if it had worked flawlessly right out of the box. I'm sure it will smooth out over the next few days.
Those few days are going to see me racking my brains for the names of songs I remember hearing way back when and losing track of, so I can seek them out and download crispy fresh new copies; and it's also going to see me scrabbling in amongst the sofa cushions for loose change to convert into a new iPod.
Or perhaps not; I wouldn't want to hurt the feelings of my current one. It's not its fault we're both behind the curve now.
Poor thing.
UPDATE: Here's the nitty-gritty of the DRM terms:
The iTunes Music Store is fast and convenient for you, and fair to the artists and record companies. In a nutshell, you can play your music on up to three computers, enjoy unlimited synching with your iPods, burn unlimited CDs of individual songs, and burn unchanged playlists up to 10 times each.
Okay-- that answers a number of questions, and raises quite a few more...
UPDATE: As of 4:00 PM PST, the kinks in the service seem to be worked out; I can now sign in, search, browse, and move around the system with very little delay. Guess they got some more servers online.
Also, Chris points out to me that the purpose of moving the iPod's playback/navigation buttons to a row above the scroll wheel, instead of their previous ring around the wheel, is to allow them to go the the touch-sensitive track-pad sensor buttons for all of them, not just the wheel. (Early iPod owners complained a lot about taking their iPods to the beach and getting sand in the scroll-wheel, hence the move to the track-pad wheel.) If they'd stayed with the old button layout, but made the ring buttons touch-sensitive, there would be no tactile separation between them and the scroll-wheel; moving them to the row above lets the user navigate by feel as well as keeping the sand out.
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| Friday, April 25, 2003 |
01:02 - Crikey!
http://www.sfgate.com/cgi-bin/article.cgi?f=/news/archive/2003/04/24/international01
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From yesterday's SFGate coverage of the Australian SAS takeover of one of Iraq's airfields:
"The Iraqi air force understood that it needed to stay on the ground for its own safety," said Gen. Peter Cosgrove, chief of the Australian Defense Forces, who spoke to troops at the airfield on Thursday.
The Al Asad airfield, which housed the largest known contingent of Saddam's jet fighters, represents one of the big catches of the war. Three fighter squadrons -- the bulk of the Iraqi air force -- were stationed there, 112 miles northwest of Baghdad.
The Australians say they are still taking inventory but have so far found 57 fighter aircraft, mostly Soviet-era MiGs but also three advanced MiG 25 Foxbats, the fastest combat aircraft today.
Awwh, now 'ere's a real byooty! This hyeah MiG-25 Foxbat is not awnly the fahstest critter in the skoys, it's also extremely endaynjahd. Not many of them still exist in the wuhld! Now, let's see what happens if we stick our thumb up its tahlpoyp!
(Sorry.)
(No I'm not.)
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16:35 - Where Have You Gone, Paul Tatara?
http://www.flakmag.com/features/tatara.html
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Just today, it suddenly dawned on me out of the blue that I hadn't seen any movie reviews by Paul Tatara in almost a year. Tatara, I've mentioned once or twice before (though not at all lately), is one of two movie critics at CNN.com (the other being the pedestrian and downright boring Paul Clinton).
Or was, more appropriately. It turns out that Tatara, whose reviews were always immensely fun, academic, well-informed, highly discriminating, conversational, dynamic, and often uproariously funny, is no longer working for CNN-- and hasn't been since mid-2002, after what was ostensibly a contract dispute. And now, when I go to CNN's movie-reviews site, I find that not only isn't Paul Clinton filling the rolls with his fourth-grade-book-report drudgery, but nobody really is-- that is, nobody with a name. CNN only links to movie reviews by their titles, now, rather than by the name of the reviewer. And apparently that was the point.
From 1997 to 2001, Tatara appeared frequently, as often as 16 times a month, along with the critic who actually appeared on TV, Paul Clinton. In 2002, his workload suddenly dropped to, at most, five reviews a month. There were times in the past that CNN.com editors had told Tatara that the higher-ups weren't loving his work, and more and more the site was relying on Entertainment Weekly, its sister AOL Time Warner publication.
"There were always periods, after nine months or so, when someone would raise a stink about the tone of writing being too conversational, too harsh, too, too, too," says Tatara, who is not speaking in exclamation points at this moment. He's just warming up.
"Especially with the conversational tone. They wanted me to be faceless!"
"It could be that [CNN's] blood pressure was higher, because the site wasn't making money! I had a real readership, but they couldn't care less! They weren't allowing people any real personality! At this point, [CNN] is like the Kmart of news services, and instead of a news flash, they should have a Blue Light Special!"
And that's not all. Apparently the final straw was Tatara's December 2001 review of Black Hawk Down, which, admittedly, I allowed to inform my presuppositions of the movie when I bitched about it last year. (In my defense, it was Super Bowl day, and I was in no mood to be given a good impression by anything.) Since then, I've been set straight by friends and co-conspirators who shared Ollie North's opinion that the widespread panning of the movie by Tatara and others as a clumsy, nuance-free splatterfest was grossly unfair-- that the movie was actually astonishingly accurate to real life, and the jarring nature of its graphic scenes and the perceived bestial brutality of the Somali mobs was not exaggerated out of any appeal to bloodthirsty racism. Rather, the movie was just too honest for most of today's sophisticates to accept without a layer of wry Apocalypse Now wit and commentary and mythic storytelling. Real life doesn't play like a movie script-- and because BHD doesn't seem to have much of what's traditionally thought of as a well-constructed, sophisticated plot just means it's true to real life instead of to Hollywood expectations.
Anyway, so evidently CNN didn't like Tatara's review of BHD; and over the next several months they phased him out in favor of less-controversial writers. (I always thought there had to be some story behind the disclaimer/footers he attached to so many of his reviews: Warner Bros. is an AOL Time Warner sister company of CNN.com. Probably not put there voluntarily, eh, Paul?) CNN now has its wish: a parade of anonymous movie reviewers from AP and other random sources, filling billets without injecting any of that unwanted personality. Paul's last review, Divine Secrets of the Ya-Ya Sisterhood, was on June 7. After that, he resigned and returned to his first love: screenwriting.
Which means he won't be doing any more reviewing, though he's apparently looking for review work. All his old reviews are still online at the Paul Tatara Movie Review Archive, which has the text of his resignation letter, as well as the assurance that the man's reviews were loved by a great many people, something I had suspected but not known for sure. I'd become a disciple of his work totally on my own; there's nothing like discovering that what you'd thought was a personal treasured secret is actually the basis of Internet fan sites.
Maybe Paul should blog his reviews. Yeah, he wouldn't be getting paid for them; but if he enjoys doing it, hey, it should be pretty obvious that there are lots of people out here who will write tons of drivel every day for no tangible profit and at the expense of our day jobs and social lives. C'mon, Paul-- you've still got fans out here. And there's movie after movie going un-reviewed-by-you. This cannot be allowed to stand.
Geez... that was about the easiest piece of online research I've ever had to do. URLs practically hurled themselves at me.
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| Thursday, April 24, 2003 |
20:57 - More Radio Fun
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Whenever I leave work earlier than 7:00 PM, I get to hear what's on NPR before Fresh Air comes on-- which in this case is Pacific Time. Usually it's fairly benign, but there's always the strange air of some shadowy patronage behind it. It's always just a little too cheerful, a little too starched.
Today, when the radio came on, it was on a report of an Asian Hip-Hop Festival taking place in LA; it talked about the various rappers whose oeuvre spanned English, Cambodian, Vietnamese, Chinese, and Korean, and played a few samples. Good clean fun.
Then it mentioned that all the proceeds from the concert were to go to a relief charity for the North Korean people. "We want to send the message that we want food, not bombs, in North Korea," one youth said. From the tone of the show, it was decidedly unclear whose bombs he was talking about-- Kim's, or ours? The events of the past few months have conditioned me to assume always that when young activists get together to raise support for a cause involving a part of the world that we're taking an interest in, for whatever reason, it's damned seldom that said cause is aligned with US foreign policy.
One guy did say, in fact, that the Asians in the communities putting on the event do blame US foreign policy over the past fifty years, in part, for the situation in North Korea. (At least they were good enough to allow the in part part.) And then he delivered the real corker, proving wryly that the show must have been taped a couple of days ago at least: that he and his compatriots hoped that the trilateral talks this week between the US, NK, and China, would lay the groundwork for the relief and disarmament that North Korea and its people so desperately need.
Boy, that's really worked out well, hasn't it?
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17:35 - What a Learjet buys us
http://www.thinksecret.com/news/shareholdersmeeting03.html
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Some of the questions-and-answers from today's Apple shareholders' meeting are pretty entertaining (forwarded by Kris):
-An inquiry about proposal one, re-electing the board of directors, asked if there really was any choice at all in the re-election of the board, since Apple's shareholder notice notes "The six nominees for director receiving the highest number of affirmative votes of the shares entitled to be voted for them shall be elected as directors." There were a total of six nominees. Heinen said that people did have the option of not voting. Jobs then commented that he received 83% of the votes to be re-elected, the highest second to Al Gore who received over 90%. Gore added, "Does it matter who has the most votes?" which sent the crowd into laughter.
-A person expressed concern over dealership contract renewal . Cook responded saying that dealerships representing less than 0.2% of Apple's revenue didn't re-sign. He also said that some dealerships re-signed after the deadline, and that the number of signed-on dealerships will only go up with time. Jobs added, humorously, that 100% of the Apple Retail stores decided to renew their contracts.
-A woman asked about increasing market share, and what steps to take if one identified possible large corporate sales opportunities for Apple. Fielding the second question first, Jobs made Cook provide his e-mail address to shareholders, so that he could handle their suggestions about enterprise sales opportunities -- tcook@apple.com. Fred Anderson then answered the first question explaining that the Switch campaign has been working, and that among the consumer segment Apple has doubled its market share, based on information from IDC.
-The acquisition of Virtual PC by Microsoft was raised by one shareholder. Jobs said that Apple's relationship with Microsoft is good and that Microsoft likes Safari. He also noted that VPC has been moved to the Mac Business Unit at Microsoft and that Microsoft acquired the software not so that it could get VPC itself, but its underlying technology. Jobs said Apple has talked with Microsoft, and Microsoft promises to continue the software. Jobs also suggested that the price might drop since royalties on Windows no longer have to be paid.
Hyuck, hyuck, Al. That's one helluva shareholder mandate he seems to have gotten, though.
I'm sure there's a good reason for him to be on Apple's board. Otherwise why would all these people have voted for him?
I mean, there's got to be, right?
Wait a minute. Doubled its market share? You've gotta be kidding me.
What, we're up to 2% now?
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14:22 - Ebert on Moore, War, and More
http://www.progressive.org/radio/ebertransc.html
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Judson forwards me this transcript of a Progressive Radio interview with Roger Ebert. It's interesting... last month I'd pegged Ebert as a guy who seemed to have a good, sane perspective on big world issues, even if he did lean left ('scuse me, progressive). And I do still think that; I'm just not as sure how well this interview bolsters that opinion.
It starts off with Ebert's analysis of Moore's Oscar-acceptance speech, and weirdly enough he critiques it-- discussing ways in which Moore's acting performance behind the podium could have been better, how he could have gotten his important message out more effectively and countered the booing. Not a word about the factual idiocy of Bowling For Columbine, of course; it's as though that one thirty-second window in human history following Moore's wrapping his meaty hand around the little gold guy was the One Big Chance the world would have to broadcast the all-important message that Bush is a fictitious president promoting a fictitious war. He seems genuinely disappointed that Moore blew it-- that history could have turned out differently if only Moore hadn't hunched over the podium or spoken so quickly and huntedly. Also this didn't help:
Nevertheless, I agree with what he said. I don't think Bush was legitimately elected President. But I was very offended as a reporter when Michael came directly back to the pressroom where I was, along with 300 or 400 other reporters, and lectured us, "Now do your job. Don't report it was a divided house. Only five loud people were booing."
Do your job, he says. Don't stifle dissent. Moore would have made an excellent "minder" under Saddam.
The remainder of the interview is fairly interesting-- it's got a very hopeless tone to it, but then maybe that's just me projecting a post-war sense of relief and snarky cynicism onto a March 30 interview. If nothing else, we get a much broader cross-section of Ebert's views here (evidently he considers Sean Penn to be the best actor of his generation, and bemoans the unfair right-wing reactions to his and Sarandon's and the Dixie Chicks' statements-- hey, did you know that Ebert gets only long, thoughtful essays from liberals, but nothing but terse dismissive vitriol from conservatives? Who's been writing to this guy?). I'm not sure where he gets his impressions of Bush as a televangelist standing in a beam of light from a stained-glass window, receiving pronouncements from Heaven and acting on them without thought or debate, especially considering the world we live in where that does happen every week-- just not in the White House. It's another set of moral-relativism blinders, where only the mildest of religious inspiration is to be condemned here at home, but genuine insane genocidal raving from religious leaders elsewhere in the world is just hunky-dory, because hey, everybody but us is entitled to free practice of their customs. Ebert doesn't seem to feel it necessary to address the multiple sides of the argument-- maybe it's because of the nature of the organization doing the interviewing, but the timbre of the whole thing is so dispirited you'd think they were conducting the interview while clasped consolingly in each other's arms.
I still think he's a well-reasoned individual and capable of plenty of rational thought, but I'm having my doubts as to the selection of the battles he's choosing to fight.
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10:44 - Piling On
http://www.theregister.co.uk/content/39/30360.html
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Andrew Orlowski at The Reg has a more in-depth speculative article on Apple's "piles" concept. It's not very well edited ("pros and cones"?), but a good read nonetheless. It sounds like this idea goes back way farther than the 2001 date the eWeek article suggests.
The paper describes "Piles" as an adjunct to the file/folder metaphor, in the paper (co-authored with Richard Mander and Yin Yin Wong). A clue is in the title, which describes piles as a metaphor for "supporting casual organization of information". Piles were seen as complementary to the folder filing system, which was used more for archiving than grouping recently used, but related documents. "The folder as the sole container type presents an impoverished set of possibilities," the authors noted. "There are different aspects to Piles," Solomon told us today. "They are a visual representation, but also helping them organize things, as a way to make suggestions. There are fuzzy edges - the computer is presenting you with 'what if?' questions on a pile of stuff. This would be helped indexing of the contents of documents in real time, much as BeOS' BFS file system indexed metadata attributes in real time using a dedicated system thread. BFS designer Dominic Giampaulo joined Apple last year, and the rumor circuit has consistently suggested that better threading is a priority for the Panther update to MacOS X. Which suggests that Apple has both the will and know-how to provide a system capable of supporting very rich Piles.
If that's the direction in which all of last year's mysterious employee-and-technology-acquisition rumors have turned out to point, then I'm really looking forward to seeing this in action.
(Oh, and check out the al-Sahhaf joke they've managed to work in on their site. It's the vertical banner ad at the right, but it rotates.)
Thanks to Matt for spotting this.
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| Wednesday, April 23, 2003 |
20:11 - The Unconquerable Made-Up Mind
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Fresh Air with Terry Gross tonight had as a guest Jonathan Schell, author of The Unconquerable World: Power, Nonviolence, and the Will of the People. I don't know anything about this author, other than that the people who bought his book from Amazon.com also bought books by Gore Vidal and Susan Sontag, so I can render a guess as to the bent of his opinion.
Which, during the course of the few bits of the conversation that I heard at stop lights (I had the radio turned down so I could ponder more important things, like what video rental places might still have Nerds Ropes), appeared to be that the war in Iraq is a demonstration of the new US attitude toward conquering the world, which we would never be able to do because of the indomitable will of whatever people we try to subjugate with our reversals of worldwide masterpieces of diplomacy like the ABM treaty and our new decision to solve the problems of WMD with force and aggression and pre-emption rather than with words.
Terry actually challenged him on that, saying that wasn't the whole point of this war that treaties and diplomacy had failed? And he stuttered for a bit, seemingly taken aback; but then he went off on a tirade that went something like this (I'm not quoting exactly, but this is as closely as I can recall it):
At least North Korea publicly stated that they were backing out of the ABM treaty; we, instead, have simply reversed our policy, and are re-arming for a new nuclear-armed world. Our people at STRATCOM are seeking out and designating new nuclear targets in Iraq and elsewhere as we speak. And the Bush administration made a statement early in this war that said that if the Iraqis should use chemical or biologcal weapons against the American troops, then we would use "any force necessary" in response-- which, of course, is diplomatese for "nuclear weapons". And we should also realize that the US is more aggressively developing nuclear weapons today than ever before; now we've got these so-called "bunker busters", which, uh, can take out certain underground installations. These "bunker busters" are nuclear weapons which further demonstrate that the US is committed to a double standard regarding weapons of mass destruction and who should be permitted to use them.
Gee. Really? We dropped four of these puppies on a restaurant and turned it into a rubble-and-Saddam-parts-filled crater, and the buildings right next to it were barely damaged. Damn, that's what our nukes can do these days?
This guy has not the faintest idea what "bunker busters" are, and he's writing books about war and diplomacy and going on NPR to talk about them to audiences of millions. What's wrong with this picture?
Maybe I should order a transcript of this show; there's probably lots more juicy material in there to work with.
UPDATE: Hmm. But then, as Matt tells me, there's the RNEP, a nuclear version of exsting bunker-busters that is apparently being developed. Somehow, though, I suspect that this only makes Schell correct by accident...
UPDATE: Actually Schell talked about the Nuclear Non-Proliferation Treaty, not the ABM treaty; my bad. The stream of the interview is here; the part I was paraphrasing above is between 16:30 and 20:00.
Hey, c'mon, it was from memory.
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17:33 - Boutique Snowboarding
http://www.apple.com/ipod/burton/
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Neato. Apparently there's a custom-designed snowboarding jacket co-created by Apple and Burton Snowboards which integrates with the iPod for that total digital downhill experience.
There's a pocket on the breast for the iPod itself, and you hook it up via the remote/headphone jack to a panel in the left wrist so you can control the playback via buttons under touch-sensitive fabric. And the headphones are presumably integrated into the hood.
$499, eh? And Glenn Reynolds is skeptical that some people would die for their iPods. You know not the depth of our devotion, my friend.
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11:48 - Irreproducible Results
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Blast! I can't get it to happen again, so I can't get a screenshot to prove this. But I swear it happened!
A little background: about a month ago, I sent in feedback to the iSync team to suggest that iSync should automatically synchronize Safari's bookmarks between Macs. I mean, wouldn't that rock? Having all your bookmarks available and consistent no matter which computer you're on? I know I'd love that.
Anyway, there haven't been any updates to iSync lately; it wasn't even revised in the 10.2.5 OS update. And Safari's only major revision lately, Beta 2 or v73, only talks about miscellaneous bug fixes and tabbed browsing.
But just now, I went into my bookmarks pane to add a new folder; when I clicked on the [+] at the bottom, I got a dialog box that said: "iSync is currently synchronizing your bookmarks. Please wait until the synchronization process is complete before modifying your bookmarks." (Or words to that effect.)
The thing is, iSync wasn't syncing at the time... and it hadn't done so in the past half-hour. And after I did a manual sync, on this machine and on my laptop, the respective machines' browsers still had their local complements of bookmarks, unchanged.
I think I tripped a piece of code in a new feature they may be putting in. Namely iSynchronization of Safari bookmarks, just as I'd hoped.
If not, that's a hell of a specific dialog box to hide in the browser as a prank...!
UPDATE: James Sentman and John Weidner both report having sighted this mystery dialog box. It appears to have nothing to do, behaviorally, with iSync itself; it's just a ghost at this stage.
And a rather poorly worded ghost at that.
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| Tuesday, April 22, 2003 |
01:26 - Peace, justice, morality, culture, sport, family life and the obliteration of all other life forms
http://littlegreenfootballs.com/weblog/?entry=6337_Peaceful_Religion_Watch
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Charles Johnson has gathered together this week's crop of rantings and ravings from the highest authorities of the planet Krikkit. Reality is taking its time to sink in, but the timbre seems to be changing a little bit, subtly. I'm not yet sure whether it's for the better or the worse.
Shaykh Ibrahim Mudayris delivers the sermon, which he begins by saying: "O people of Palestine, O steadfast people on the land of beloved Palestine, I know that your hearts are bleeding painfully over what happened in Iraq. I know that your hearts were wounded by the fall of Baghdad, the capital of the caliphate. But, the fall of Iraq does not mean that we will give up our resoluteness and bow to the enemies of God. The quick dramatic events that led to the fall of Baghdad remind us of the Monguls, who entered Baghdad and overwhelmed it in a matter of hours. History repeats itself. That was caused by treason. And today's events smack of treason. But, O God's subjects, it is early to distinguish the traitor from the victim of treason. My fellow preachers and friends blamed some figures for treason and other things. But, I say from here: O people, O God's subject, you must wait until the facts become clear. We are sure that Baghdad was delivered and that it did not surrender. The whole issue smacks of treason. But, was Saddam the head of treason, or was he the victim of this treason?
Sigh. To quote Lileks once more, whatever.
The more I see these hysterical sermons seeking ever more far-fetched justifications for the Americans' inexplicable success and condemnations of the genocidal designs of the bloodthirsty Crusaders, the more I'm reminded of Grandpa Simpson tottering around, pointing at birdbaths and shrieking DEEEEAAAATH!
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16:14 - My Mac's Got Piles
http://www.eweek.com/article2/0,3959,1036539,00.asp
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Hey, this is interesting. EWeek has scooped some info on OS X 10.3, codenamed "Panther"; we've known about several of its included features for a little while now, such as 64-bit support, multiple simultaneous GUI user logins, document sync with PDAs and other computers, and the usual performance boosts. But apparently there's more-- and not just of the "Hey, look, more iDoodads!" variety.
They said User at the Center features will make it simpler for individual users to personalize their computing experience and to move seamlessly among Macs and other devices. And as a marketing strategy, Panther's User at the Center capabilities are intended to challenge user-centric capabilities of Microsoft Corp.'s Windows XP as well as its forthcoming "Longhorn" client.
"User At the Center" is evidently a new design paradigm, tied in with the document-sync stuff (probably involving iSync to some degree), but from the language here it's a much more sweeping change to the user experience. There's also this:
In addition, sources said Panther will finally mark the debut of the much-discussed "piles" GUI design concept, which Apple patented in June 2001. According to the patent, piles comprise collections of documents represented graphically in stacks. Users can browse the "piled" documents dynamically by pointing at them with the cursor; the filing system can then divide a pile into subpiles based on each document's content. At the user's request, the filing system can automatically file away documents into existing piles with similar content.
Back when the original Mac OS was being developed-- that is, System 1, back during the Xerox PARC idea-sharing era-- Apple had yet to decide on just how the "Desktop" metaphor would look. The now-familiar ideas of a menu bar at the top of the screen, disk volumes down the right, and folders and documents that you could pull out and scatter around the 2-D space were not by any means the obvious direction Apple was planning to take things. I'm told that one of the front-runner metaphors for file organization, prior to the PARC trip (though the Alto's influence was in other areas than this), was a "stack" of paper-- seen from the side, piled up the left-hand side of the screen. The pile would grow taller as you used and created more documents, and the most recently used ones would be at the top. You would browse your document history by rolling your mouse up and down the stack; each file would flip up and present its icon under your cursor. Almost a Dock, in a way; and bear in mind, this was circa 1982.
(See David K. Every's Mac UI History page for clarifications on the origins of the Mac's user interface and the whole PARC thing.)
One reason why the "stack" metaphor wasn't satisfying was that it was date-based, rather than spatial; it was an incarnation of the "diary" metaphor, in which the user sees his data in time rather than in space. Unfortunately, as Lileks described so well last Wednesday, such a metaphor is butt. Humans think in spatial terms, not temporal terms. I'm much more likely to remember that such-and-such a file was in the blue folder over here in the corner, than to remember that I'd last used it on October 14, or that last time I looked, it was about twenty documents down from the top of the the ever-changing stack.
So what's this new "piles" thing? Is it a reiteration of the "diary" metaphor? I hope not; it's never been an idea that's worked well. Is it, instead, just another way of grouping data, with weird advanced semantics for associating files on the merit of their content or type? Interesting, if so... I'll definitely be looking forward to the screenshots as soon as insiders start leaking them to Think Secret.
It's hard to imagine them coming up with a worse name for a revolutionary new feature, though. (Microsoft doesn't fail me, though: apparently WinXP's successor, Longhorn, has something called a "shingleprint".)
UPDATE: Here's a Flash mock-up of the "piles" concept in action, by Richard Das. Damn, that's cool! I want it!
Thanks to Paul for the tip.
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13:40 - Whiteboard of DOOM
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The latest update:
Yeah, that's appetizing.
Oh, and I don't think I ever posted these two:

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11:01 - The pain... the pain!
http://www.lordsoftherhymes.com
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Go you and behold the music video at this site: "Lords of the Rhymes". Hizobbits in the hizouse, and they can bust a linno.
It's worth it just to hear A Elbereth Gilthoniel in rap format.
Pain like this can only be assuaged by passing it on.
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