Tags: record

25

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Sunday, December 5th, 2021

Getting back

The three-part almost nine-hour long documentary Get Back is quite fascinating.

First of all, the fact that all this footage exists is remarkable. It’s as if Disney had announced that they’d found the footage for a film shot between Star Wars and The Empire Strikes Back.

Still, does this treasure trove really warrant the daunting length of this new Beatles documentary? As Terence puts it:

There are two problems with this Peter Jackson documentary. The first is that it is far too long - are casual fans really going to sit through 9 hours of a band bickering? The second problem is that it is far too short! Beatles obsessives (like me) could happily drink in a hundred hours of this stuff.

In some ways, watching Get Back is liking watching one of those Andy Warhol art projects where he just pointed a camera at someone for 24 hours. It’s simultaneously boring and yet oddly mesmerising.

What struck myself and Jessica watching Get Back was how much it was like our experience of playing with Salter Cane. I’m not saying Salter Cane are like The Beatles. I’m saying that The Beatles are like Salter Cane and every other band on the planet when it comes to how the sausage gets made. The same kind of highs. The same kind of lows. And above all, the same kind of tedium. Spending hours and hours in a practice room or a recording studio is simultaneously exciting and dull. This documentary captures that perfectly.

I suppose Peter Jackson could’ve made a three-part fly-on-the-wall documentary series about any band and I would’ve found it equally interesting. But this is The Beatles and that means there’s a whole mythology that comes along for the ride. So, yes, it’s like watching paint dry, but on the other hand, it’s paint painted by The Beatles.

What I liked about Get Back is that it demystified the band. The revelation for me was really understanding that this was just four lads from Liverpool making music together. And I know I shouldn’t be surprised by that—the Beatles themselves spent years insisting they were just four lads from Liverpool making music together, but, y’know …it’s The Beatles!

There’s a scene in the Danny Boyle film Yesterday where the main character plays Let It Be for the first time in a world where The Beatles have never existed. It’s one of the few funny parts of the film. It’s funny because to everyone else it’s just some new song but we, the audience, know that it’s not just some new song…

Christ, this is Let It Be! You’re the first people on Earth to hear this song! This is like watching Da Vinci paint the Mona Lisa right in front of your bloody eyes!

But truth is even more amusing than fiction. In the first episode of Get Back, we get to see when Paul starts noodling on the piano playing Let It Be for the first time. It’s a momentous occasion and the reaction from everyone around him is …complete indifference. People are chatting, discussing a set design that will never get built, and generally ignoring the nascent song being played. I laughed out loud.

There’s another moment when George brings in the song he wrote the night before, I Me Mine. He plays it while John and Yoko waltz around. It’s in 3/4 time and it’s minor key. I turned to Jessica and said “That’s the most Salter Cane sounding one.” Then, I swear at that moment, after George has stopped playing that song, he plays a brief little riff on the guitar that sounded exactly like a Salter Cane song we’re working on right now. Myself and Jessica turned to each other and said, “What was that‽”

Funnily enough, when we told this to Chris, the singer in Salter Cane, he mentioned how that was the scene that had stood out to him as well, but not for that riff (he hadn’t noticed the similarity). For him, it was about how George had brought just a scrap of a song. Chris realised it was the kind of scrap that he would come up with, but then discard, thinking there’s not enough there. So maybe there’s a lesson here about sharing those scraps.

Watching Get Back, I was trying to figure out if it was so fascinating to me and Jessica (and Chris) because we’re in a band. Would it resonate with other people?

The answer, it turns out, is yes, very much so. Everyone’s been sharing that clip of Paul coming up with the beginnings of the song Get Back. The general reaction is one of breathless wonder. But as Chris said, “How did you think songs happened?” His reaction was more like “yup, accurate.”

Inevitably, there are people mining the documentary for lessons in creativity, design, and leadership. There are already Medium think-pieces and newsletters analysing the processes on display. I guarantee you that there will be multiple conference talks at UX events over the next few years that will include footage from Get Back.

I understand how you could watch this documentary and take away the lesson that these were musical geniuses forging remarkable works of cultural importance. But that’s not what I took from it. I came away from it thinking they’re just a band who wrote and recorded some songs. Weirdly, that made me appreciate The Beatles even more. And it made me appreciate all the other bands and all the other songs out there.

Friday, July 9th, 2021

Centuries of Sound

An audio mix for every year of recorded sound, 1859 to the present.

Currently up to 1936.

Tuesday, March 16th, 2021

Done

Remember how I said I was preparing an online conference talk? Well, I’m happy to say that not only is the talk prepared, but I’ve managed to successfully record it too.

If you want to see the finished results, come along to An Event Apart Spring Summit on April 19th. To sweeten the deal, I’ve got a discount code you can use when you buy any multi-day pass: AEAJEREMY.

Recording the talk took longer than I thought it would. I think it was because I said this:

It feels a bit different to prepare a talk for pre-recording rather than live delivery on stage. In fact, it feels less like preparing a conference talk and more like making a documentary.

Once I got that idea in my head, I think I became a lot fussier about the quality of the recording. “Would David Attenborough allow his documentaries to have the sound of a keyboard audibly being pressed? No! Start again!”

I’m pleased with the final results. And I’m really looking forward to the post-presentation discussion with questions from the audience. The talk gets provocative—and maye a bit ranty—towards the end so it’ll be interesting to see how people react to that.

It feels good to have the presentation finished, but it also feels …weird. It’s like the feeling that conference organisers get once the conference is over. You spend all this time working towards something and then, one day, it’s in the past instead of looming in the future. It can make you feel kind of empty and listless. Maybe it’s the same for big product launches.

The two big projects I’ve been working on for the past few months were this talk and season two of the Clearleft podcast. The talk is in the can and so is the final episode of the podcast season, which drops tomorrow.

On the one hand, it’s nice to have my decks cleared. Nothing work-related to keep me up at night. But I also recognise the growing feeling of doubt and moodiness, just like the post-conference blues.

The obvious solution is to start another big project, something on the scale of making a brand new talk, or organising a conference, or recording another podcast season, or even writing a book.

The other option is to take a break for a while. Seeing as the UK government has extended its furlough scheme, maybe I should take full advantage of it. I went on furlough for a while last year and found it to be a nice change of pace.

Saturday, October 3rd, 2020

200 tunes

Every day I’ve been recording myself playing a tune and then posting the videos here on my site.

It seems like just yesterday that I wrote about hitting the landmark of 100 tunes. But that was itself 100 days ago. I know this because today I posted my 200th tune.

I’m pretty pleased that I’ve managed to keep up a 200 day streak. I could keep going, but I think I’m going to take a break. I’ll keep recording and posting tunes, but I’m no longer going to give myself the deadline of doing it every single day. I’ll record and post a tune when I feel like it.

It’ll be interesting to see how the frequency changes now. Maybe I’ll still feel like recording a tune most days. Or maybe it’ll become a rare occurrence.

If you want to peruse the 200 tunes recorded so far, you can find them here on my website and in a playlist on YouTube. I also posted some videos to Instagram, but I haven’t been doing that from the start.

I’m quite chuffed with the overall output (even if some of the individual recordings are distinctly sub-par). Recording 200 tunes sounds like a big task by itself, but if you break it down to recording just one tune a day, it becomes so much more manageable. You can stand anything for ten seconds. As I said when I reached the 100 tune mark:

Recording one tune isn’t too much hassle. There are days when it’s frustrating and I have to do multiple takes, but overall it’s not too taxing. But now, when I look at the cumulative result, I’m very happy that I didn’t skip any days.

There was a side effect to recording a short video every day. I created a timeline for my hair. I’ve documented the day-by-day growth of my hair from 200 days ago to today. A self has been inadvertently quantified.

Friday, June 26th, 2020

100 tunes

We got a headstart on the lockdown. A week before the UK government finally stopped dilly-dallying (at the expense of tens of thousands of lives), Clearleft became a remote-only company. At the beginning of this stay-at-home time, I started recording a tune a day. I wasn’t sure how long I’d keep it up, but I’ve managed to keep it going the whole time.

Yesterday I recorded my 100th tune.

It’s funny how small efforts can build up into a satisfying corpus. It’s not like I’m attempting anything ambitious, like Matthias, who is doing 100 days of writing. Recording one tune isn’t too much hassle. There are days when it’s frustrating and I have to do multiple takes, but overall it’s not too taxing. But now, when I look at the cumulative result, I’m very happy that I didn’t skip any days.

One hundred is a nice round number, so this could be a good time to stop. I could quit while I’m ahead. But I think I’ll keep going. Again, despite what the official line might be from the UK government (who have lost all trust), I reckon I’ll be staying at home for a while yet. As long as I’m here, I may as well keep playing. I have plenty more tunes to play.

At some point, the daily streak will end. But even then, I think I’ll continue to record tunes like this, even if it becomes more sporadic.

If you like these tunes, as well as being here on my own site, they’re all in a YouTube set. So …like’n’subscribe, or something?

Sunday, May 17th, 2020

Photograph

Do you have a favourite non-personal photograph?

By non-personal, I mean one that isn’t directly related to your life; photographs of family members, friends, travel (remember travel?).

Even discounting those photographs, there’s still a vast pool of candidates. There are all the amazing pictures taken by photojournalists like Lee Miller. There’s all the awe-inspiring wildlife photography out there. Then there are the kind of posters that end up on bedroom walls, like Robert Doisneau’s The Kiss.

One of my favourite photographs of all time has music as its subject matter. No, not Johnny Cash flipping the bird, although I believe this picture to be just as rock’n’roll.

In the foreground, Séamus Ennis sits with his pipes. In the background, Jean Ritchie is leaning intently over her recording equipment.

This is a photograph of Séamus Ennis and Jean Ritchie. It was probably taken around 1952 or 1953 by Ritchie’s husband, George Pickow, when Jean Ritchie and Alan Lomax were in Ireland to do field recordings.

I love everything about it.

Séamus Ennis looks genuinely larger than life (which, by all accounts, he was). And just look at the length of those fingers! Meanwhile Jean Ritchie is equally indominatable, just as much as part of the story as the musician she’s there to record.

Both of them have expressions that convey how intent they are on their machines—Ennis’s uilleann pipes and Ritchie’s tape recorder. It’s positively steampunk!

What a perfect snapshot of tradition and technology meeting slap bang in the middle of the twentieth century.

Maybe that’s why I love it so much. One single photograph is filled with so much that’s dear to me—traditional Irish music meets long-term archival preservation.

Wednesday, December 11th, 2019

Saron Yitbarek and Jeremy Keith - Command Line Heroes Live Podcast - View Source 2019 - YouTube

Here’s the live podcast recording I was on at the View Source conference in Amsterdam a while back, all about the history of JavaScript.

My contribution starts about ten minutes in. I really, really enjoyed our closing chat around the 25 minute mark.

It was such a pleasure and an honour to watch Saron at work—she did an amazing job!

Saron Yitbarek and Jeremy Keith - Command Line Heroes Live Podcast  - View Source 2019

Saturday, June 22nd, 2019

BBC Shows and Tours - Shows - James Burke: Our Man on the Moon

I wish I were here for this (I’m going to be over in Ireland that week)—an evening with James Burke, Britain’s voice of Apollo 11.

Here is your chance to find out what went on behind the scenes as James revisits the final moments of the Apollo mission. He’ll recreate the drama, struggling to make sense of flickering images from NASA and working with the limitations of 1960s technology. We’ll hear what went wrong as well as what went right on the night! Illustrated with amazing archive material from both the BBC and NASA, this will be the story of the moon landings brought to you by the man who became a broadcasting legend.

Tuesday, May 28th, 2019

Obama’s Presidential Library Should Be Digital-First - The Atlantic

Given its origins and composition, the Obama library is already largely digital. The vast majority of the record his presidency left behind consists not of evocative handwritten notes, printed cable transmissions, and black-and-white photographs, but email, Word documents, and JPEGs. The question now is how to leverage its digital nature to make it maximally useful and used.

Sunday, September 9th, 2018

Internet Archive: Connections season 1, episodes 1-10

Videos for the whole first season of James Burke’s brilliant Connections TV series.

Internet Archive and chill.

Why the Future of Data Storage is (Still) Magnetic Tape - IEEE Spectrum

It turns out that a whole lot of The So-Called Cloud is relying on magnetic tape for its backups.

Sunday, July 1st, 2018

Monday, April 23rd, 2018

Kap - Capture your screen

This looks like a very handy tool for doing little screencasts where you don’t need to capture the whole screen.

Tuesday, January 2nd, 2018

The Golden Record

We asked you to tell us what you’d put on a new Golden Record. Here’s what you chose.

Ever thought about what you’d put on the Voyager golden record? Well, what are you waiting for? Your website can be your time capsule.

Sunday, July 5th, 2015

adactio.com on Huffduffer

I recorded audio versions of some of my favourite blog posts.

Monday, March 28th, 2011

Everything I’ve learned about podcasting over the last four years | fortuitous

A very handy “how to” for recording your own podcast.

Sunday, February 22nd, 2009

Busker Du

Busker Du (dial-up) is a recording service for buskers through the telephone (preferably public payphones hidden in subway stations).

Sunday, May 11th, 2008

vidnik - Google Code

A handy Mac app from Google that allows you to record from your iSight and upload directly to YouTube.

Friday, March 21st, 2008

Welcome | Ben Saunders | North Pole Speed Record

Intrepid adventurer Ben Saunders is off again. This time he aims to to set a new world speed record from Ward Hunt Island to the Geographic North Pole. He is armed with a beautiful website courtesy of Colly and the lads at Erskine.

Saturday, December 29th, 2007

Music Recording Industry Will Be First Traditional Media Industry To Be Utterly Destroyed By Digital Technology - Publishing 2.0

The RIAA now says it is illegal for you to put that CD you bought onto your own computer. Asshats.