All posts by Stephen Macaulay

Ownership: What It Isn’t

Although it seems as though car companies are proclaiming the wonders of electric vehicles and making it sound as though their dealerships are chock full of them, with models to fit every need, that is far from being the case. On the one hand, most original equipment manufacturers don’t have all that many—Ford has two, three if you count a cargo vehicle aimed at contractors; GM has three, and during the first nine months of 2023 it sold 6,587 of them combined; it, too has a cargo vehicle, so if its 333 units are added, that still isn’t very many: if all of them were parked at the Mall of America’s parking lots about half the spaces would still be empty. On the other hand, these vehicles are pretty much pricy: according to Kelley Blue Book, the average transaction price for an electric vehicle—as in what people actually paid at a dealership—was $51,762: in 2022 the U.S. median income was $74,580; with 20% down and a five-year loan, buying that average EV would set someone back about $805 per month, or about 13% of household earnings (although the $74,580 is a pre-tax figure, so it would actually be a lower number).

What a real area of interest that OEMs have is something that isn’t widely talked about because were it to be it might be perceived as being rather greedy. What they want are recurring sources of revenues. That is, traditional OEMs that sell through dealerships (those that don’t use dealers can be counted on your fingers) actually sell the given vehicle to the dealer, then the dealer sells the SUV to you and makes a profit on the difference to what it paid the OEM and what it charges you. This means that the OEM gets money once for each vehicle.

What the OEMs would like is to sell subscriptions to individuals, not so much for entire vehicles (although there is that), but for options. What is perhaps the most notorious example of this is what BMW tried to do a while back, which is to charge a fee for those who wanted to use the heated seat function that was installed in the vehicle. That was pretty much on the heels of its earlier idea that if you wanted to use Apple CarPlay in your 3 Series, then you would pay a fee to BMW to do so. While that CarPlay play isn’t going to occur again, there are efforts by OEMs to develop their own competitive systems, which is where the fees are likely to sneak in. What’s more, what is becoming more common and seemingly acceptable are fees that are charged by OEMs that will allow one’s electric vehicle to go faster: this is activated by an over-the-air software update.

While that may be exhilarating, it is also expensive for the individual who has both the vehicle: they have paid for the motor that is capable of performing at X + 2 but that motor is limited to X until they pay more to get that 2. Presumably a motor that can only provide X would be less expensive than one that can go X + 2, which means that those who have no intention of ever going X + 2 are paying more, and those who are interested in X + 2 pay a recurring fee to the OEM, so it makes money on both ends.

At this point—or a few hundred words back—you are wondering whether this was actually something written for Motor Trend, not Glorious Noise.

Continue reading Ownership: What It Isn’t

Of Ukes and Fakes (?)

According to The Theory of Everything Else: A Voyage Into the World of the Weird by Dan Schreiber—yes, the lengths we go to find things that may be of some moderate interest—when the remaining Beatles were producing “Free As a Bird”:

“. . .it was suggested that what they should do is add some ukulele music at the end.”

While the ukulele is generally associated with Hawaiian music thanks to the support of King Kalakaua, the last king and second-to-last monarch of Hawaii (following his death in San Francisco in 1891 he was succeeded by Princess Lydia Kamakaeha, who became Queen Liliuokalani, who was deposed in 1893 in a coup that included support of the U.S. military), it was invented in Portugal, but like a staple of Hawaiian breakfasts—Portuguese sausage—the musical creation of what was once a major seafaring nation established itself there as deeply and as thoroughly as the meat concoction.

But I digress.

Schreiber goes on to write that the Beatles decided to do something at the end that they’d done on earlier recordings (e.g., “Revolution 9”) when they were fully the Beatles: adding backmasking to the track. Backmasking is the method in which something is recorded backward and then, when played forward, reveals a message.

Schreiber:

“. . .the message they ended up using was a snippet of Lennon saying, ‘Turned out nice again.’ This turned out to be a perfect line to put over the ukelele as it was the catchphrase of musician and ukulele player George Formby.”

And now cue the “dun-dun-dun” sound of something that is about to be shockingly revealed.

After backmasking the phrase, when it was played back

“. . .it didn’t produce a garbled sentence as expected. Instead, what everyone heard was the voice of John Lennon, though a backward record, saying the words ‘Made by John Lennon.’”

Dun-dun-dun.

Continue reading Of Ukes and Fakes (?)

On the Potential Problems of AI & Music or “Avast, Me Hearties!”

Universal Music Group recently filed some comments to the U.S. Copyright Office as part of “Artificial Intelligence and Copyright: Notice and Request for Public Comment.”

“Some” is something of an understatement, as it runs 99 pages.

However, this is not entirely surprising, as the company presents itself:

“UMG owns the most extensive catalog of recordings in the industry, covering the last hundred years of many of the world’s most popular artists.”

If we go back 100 years, to 1923, it is notable that one of the most popular songs of the day was “Yes! We Have No Bananas,” which portended a potassium deficiency among those doing the Charleston.

Continuing in its modesty, the filing goes on to point out:

“Collectively, UMG owns or controls a catalog of sound recordings and musical compositions of incalculable artistic, cultural, and economic value.”

One wonders whether that last adjective isn’t the one that they would have liked to have used exclusively but then realized that the U.S. Copyright Office is part of the Library of Congress and so artistic and cultural value have more currency there.

Continue reading On the Potential Problems of AI & Music or “Avast, Me Hearties!”

Just Fake It

The story, it seems, is this.

There is a broadcaster (although that term may not be entirely encompassing, as there is a streaming service involved, so that’s not precisely “broadcasting,” although as the channel has some 167 million subscribers in the U.S., that certainly is broad) who talks about sports.

Charissa Thompson works as a co-host for both Fox Sports and Amazon’s “Thursday Night Football.” She is no rookie to sports talk, as she had gigs at GSN, the Big Ten Network, Versus, and ESPN, the last being the place she left in 2013 to move to Fox. She also was a host on “Ultimate Beastmaster,” but we’ll leave that one alone. (She actually began her career in the Fox Sports HR department, which is probably hard at work vis-a-vis Thompson at this very moment.

Thompson has a degree in Law and Society from University of California at Santa Barbara, which is a nice place to get a degree of any type from. The Law and Society degree tends to be focused more on sociology than statutes; however, the role of things legal and their impact on society are certainly part of the curriculum.

Last week on a podcast, Thompson said that sometimes during halftime at a football game when the booth threw it to Thompson on the sidelines, she found herself in a bit of a fix because the coach wouldn’t, for whatever reason, talk to her.

Thompson said: “I didn’t want to screw up the report, so I was like, ‘I’m just going to make this up.’ Because, first of all, no coach is going to get mad if I say, ‘Hey, we need to stop hurting ourselves,’ ‘We need to be better on third down,’ ‘We need to stop turning the ball over and do a better job of getting off the field.’ Like, they’re not going to correct me on that.”

Seemed, to her, like a reasonable thing to do. And in the event that said coach heard her report after the fact and the various uncontroversial comments, there might have been a shrug, assuming that the coach even remembered the situation at all.

Continue reading Just Fake It

Billions and Billions: Stars & the Strip

It is sometimes difficult to wrap one’s mind around the kind of money that music is related to today, whether it is from what the labels are reporting (yes, they are still reporting quarterly returns in the billons: for Q3 2023 Universal Music Group reported that its overall recorded music revenues were $2.21 billion, and while that is a large number, Sony did even better in its music business, with a haul of $2.33 billion) or what the streaming services are taking in (although not necessarily making money: in the third quarter of 2023 Spotify reported its first profit in more than a year, with net income of $69.1 million, from 574 million monthly active users (MAUs), and just to give you a sense of how many people that is, if you add the population of the 10 largest cities in the world—Tokyo, Delhi, Shanghai, Dhaka, Sao Paulo, Mexico City, Cairo, Beijing, Mumbai, and Osaka—it sums to about 251 million people, or about 44% of the Spotify monthly MAUs).

So let’s narrow this to something more comprehensible. The earnings of the Las Vegas Sphere*, the venue that opened on September 29. It is 366 feet tall and 516 feet at its widest point.

On the exterior there are 580,000-square feet of LEDs. The LEDs are segmented into pucks, of which there are 1.2 million. Each puck includes 48 LED diodes. Can you say “advertising”?  The people at MSG (as in “Madison Square Garden”) Networks and Sphere Entertainment Company can. During its Q1 2024 earnings call (no, this is not something that happens in the future; fiscal years don’t necessary track with calendars as we know them), James Lawerence Dolan, executive chairman and CEO of Sphere Entertainment said that early in September, before the venue was opened, the exterior (which they call the “Exosphere”) promoted NFL Sunday ticket. “This was quickly followed,” he continued, “by other prominent brands, including PlayStation, Meta, Xbox, and Coca-Cola.” Dolan added, “We have a healthy pipeline of advertising commitments for the Exosphere and over the coming months you will see a constant rotation of impactful campaigns from many prominent global brands.” Of course.

Continue reading Billions and Billions: Stars & the Strip

Paul McCartney & the Gedankenexperiment of Music

Because this isn’t just any record, there’s still more. . .

Metaphorically, we live moving forward. The future is ahead. The past is behind. The future is something that we can potentially change based on decisions or actions taken in the now. Once a decision or action has been made, the consequences of that are fixed, at least to the extent that an alternative is no longer in play, as it is behind us. However, back in the early 1950s Erwin Schrödinger, he of the cat-in-the-box fame, posited that the “wave function” that he described in equations doesn’t necessarily collapse as a result of observation. Or said another way, when someone opens the box the cat is either dead or alive, which would seem to make the “wave function” come to an end, but he argued that the “wave function” continues to exist, such that in another universe the cat is in a condition that it isn’t in the other. This gave rise to the Many Worlds Interpretation, which basically has it that there is an infinite number of universes such that a decision that “you” make is being made alternatively elsewhere. (And the MWI also gave rise to Marvel making billions of dollars on its movies.)

Still, this has it moving forward: If this, then that. So even if you didn’t decide to quit your job and move to Tahiti and that happens in another universe, it has still happened: cause/effect.

But there is another idea that Schrödinger was involved with and which has continued to gain the support of several quantum mechanics is “retrocausality.”

As Lisa Zyga wrote in an article on Phys.org:

“. . .it does not mean that signals can be communicated from the future to the past—such signaling would be forbidden even in a retrocausal theory due to thermodynamic reasons. Instead, retrocausality means that, when an experimenter chooses the measurement setting with which to measure a particle, that decision can influence the properties of that particle (or another particle) in the past, even before the experimenter made their choice. In other words, a decision made in the present can influence something in the past.”

“A decision made in the present can influence something in the past.”

If we consider the MWI, John Lennon didn’t die in 1980, George Harrison didn’t in 2001, and the Beatles hadn’t dissolved in 1970. (All of these things may have happened in separate universes.)

Continue reading Paul McCartney & the Gedankenexperiment of Music

Ars longa, vita brevis, more or less

One of the collaborations that has become pretty much a part of antiquity is the art created for records (generally for LPs and then possibly adapted from the 12 x 12-inch canvas of the album cover to a 7 x 7-inch version for the 45, though not always).

Consider, for example, the cover of The Velvet Underground and Nico, created in 1967 by Andy Warhol. Arguably that banana theme was carried over by Warhol to his work for the Rolling Stones’ Sticky Fingers album art (1971).

In 1967 the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band was released with an incredibly crowded cover that was executed by Peter Blake and Jann Haworth. The band (the Beatles, not Pepper) had been introduced by Blake and Haworth by a gallery owner, Robert Fraser.

Fraser was to introduce them to Richard Hamilton. I would (and do) argue that Hamilton was more important as an artist than Warhol as he actually created Pop Art in 1956, with a collage he created, “Just What Is It that Makes Today’s Homes So Different, So Appealing?” No Pop and Warhol might have simply continued with Bonwit Teller window displays. (Hamilton also made a major contribution to the world of art through his curation of a retrospective of the work of Marcel Duchamp at the Tate in 1966.)

Hamilton created the art for The Beatles (a.k.a., The White Album). What’s more, he suggested the name for that album. Hamilton recalled that he’d been paid some £200 for his work on the album. The album that has subsequently racked up sales of some 24 million copies. (McCartney is known to be thrifty. This takes it to a whole new level.)

Continue reading Ars longa, vita brevis, more or less

Artificial Authors & Blank Bands

“Finding my books on the Books3 data set was disappointing and disorienting: writing is how I’ve made my life, artistically, and—this is important—practically too. . . . Books and writing are how I pay my mortgage, my children’s tuition, my grocery bill. To see my work so cavalierly stolen and used, without my consent, by corporations eager only to increase their own profits, is frankly terrifying.”—Elisabeth de Mariaffi, in The Walrus

Books3, if you’re not familiar with it, is a dataset of books—thousands of them (as in around 183,000)—that were downloaded from pirated sources—so the authors received nothing for their work—and then used to train the AI language models of several companies, including Meta and Bloomberg.

Odds are, you’ve not heard of de Mariaffi.

Odds are, you have heard of Mark Zuckerberg and Mike Bloomberg.

Bloomberg is estimated to be worth $96 billion. Zuckerberg? About $115 billion.

Neither probably thinks about making their mortgage payments or the size of the grocery bill.

There are lawsuits against Books3 by authors and other interested parties.

There are lawsuits against OpenAI for illegally using authors’ works. There are some more famous writers—Jodi Picoult, George R.R. Martin, George Saunders, John Grisham, Jonathan Franzen—involved in suits, as are some, well, outliers, like Mike Huckabee and Sarah Silverman.

While the name brands probably aren’t too concerned about the price of a gallon of milk, what is notable about these undertakings is that these people are trying to protect their work from the potential unfair reuse of manipulated variants thereof that would lead to increased corporate profitability and no benefit redounding to them.

Think about it: Books3, used by humongous corporations, didn’t even plunk down $20 for a copy of The Firm.

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Celluloid Heroes

Because:

  1. Taylor Swift: The Eras Tour movie opened
  2. Websites have found that numeric lists are really popular

. . .various websites have come up with lists of the “best” concert movies of “all time.” That “all time” adverb is a bit odd given that in the grand scheme of things, movies haven’t been around for a hell of a long time.

The Lumière brothers, Auguste and Louis, essentially started the movie theater business in December 1895. Early movies were, of course, silent. But people including Thomas Edison figured that having a musical soundtrack would be useful, so some early films came along with sound-carrying cylinders. Coordination was often iffy. So in some cases there were entire orchestras in the theaters providing movie music in real time. The first full-length movie with synchronized sound, including singing, didn’t appear until 1927: The Jazz Singer. For each reel of film there was a record to accompany it.

While many of the “best” lists are predicated on the person who is making the list, in this case we’ll go with the choice made by the Rotten Tomatoes “Tomatometer®” as it “represents the percentage of professional reviews that are positive for a given film or television show.”

In other words, instead of being the opinion of one guy sitting in his parents’ basement, it is the opinion of multiples: “A Tomatometer score is calculated for a movie or TV show after it receives at least five reviews.”

Five is presumably better than one.

Their The Eras Tour-provoked list is of 60 concert movies. Which seems a bit excessive, but presumably having a longer list helps Rotten Tomatoes not necessarily with its SEO but with its parent companies’—Comcast’s Fandango Media is the majority owner and Warner Bros. owns a piece of the action—financial interests (e.g., selling tickets to currently available movies).

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“Sing in me Muse, and through me. . .”

Nowadays, one of the things that doesn’t come up in conversations too much, if at all, assuming that your cohort isn’t described as some sort of aesthetic cult, are the Muses*. Once they were invoked by artists to either inspire them or to speak through them.

There are (were?) nine:

  • Calliope, epic poetry
  • Clio, history
  • Urania, astronomy
  • Thalia, comedy
  • Melpomene, tragedy
  • Polyhymnia, religious hymns
  • Erato, erotic poetry
  • Euterpe, lyric poetry
  • Terpsichore, choral song and dance

If you remove Urania from the list, all of the Muses (a.k.a., Mousai) have something to do with either writing or music.**

What isn’t represented are the visual arts.

But odds, should someone say to you, “Who is your favorite artist?”, you wouldn’t name a comedian or a poet (erotic or otherwise) but Banksy or Ai Weiwei or some other visual artist.

For some reason, the word artist has become associated primarily with, well, artists.

Rarely is it said that a given writer is an artist. Some might say that James Joyce was not simply a writer but an artist; it is almost ironic that he titled his early novel Portrait of an Artist as a Young Man, with portraiture being more associated with painting than words on paper.

Continue reading “Sing in me Muse, and through me. . .”