A list of art galleries and museums visited on my recent trip to the USA, and all of which come highly recommended:
New Mexico Capitol Art Collection
San Francisco Museum of Modern Art
Next week: The Social License to Operate
I’ve written before about a lingering fascination for the Cold War. In recent weeks, I’ve been re-visiting Yorkshire TV’s 1978-80 spy drama “The Sandbaggers”. Only 20 episodes were produced (across three series), in large part because the creator and main writer, Ian Mackintosh (a former officer in the Royal Navy) disappeared, and in apparently mysterious circumstances.
Putting aside the occasional non-PC language, the series stands up today. The core geopolitical themes remain relevant (even down to names of the principal parties); the ongoing friction between the espionage industry and their political and bureaucratic bosses; the continued unease between ideological purity, political pragmatism and operational reality; and the paradox of the surveillance society in the pursuit of preserving our individual liberties and personal freedoms.
The scripts are taut, with no spare dialogue. We don’t need to see every step in the plot in order to follow the narrative. The characters are not particularly appealing, but we still manage to feel some empathy for them. And although the production does incorporate library footage for some external shots, there is enough location filming to make overseas sequences appear credible and authentic.
The series was filmed and set when the Cold War was still at its height. Since 1974, the Doomsday Clock had sat at 9 minutes to midnight; in 1980, it was back down to 7 minutes to midnight (the same as its post-war setting); and by 1981, it was just 4 minutes to midnight. By 1991, this trend had been reversed, in the wake of Glasnost and Perestroika in the former Soviet Union, and the fall of the Berlin Wall. Even China seemed to be opening up under the leadership of Deng Xiaoping.
Now, the Clock is showing less than 2 minutes to minute – and who knows what a similar scenario to the August 1914 “Month of Madness” could lead to in the theatre of nuclear war.
Next week: American Art Tour
Streaming services have changed the way we listen to music, and not just in the way the content is delivered (primarily via mobile devices), or the sheer number of songs available for our listening pleasure (whole catalogues at our fingertips).
These streaming platforms (which have been with us for more then 15 years) have also led to some more negative consequences: the deconstruction of albums into individual tracks (thereby undermining artists’ intention to present their work as a whole, rather than its component parts); shifting the relationship we have with our music collections from “ownership” to “renting”; paying paltry levels of streaming fees compared to royalties on physical sales and downloads; pushing suggested content via opaque algorithms and “recommender engines” rather than allowing listener self-discovery; squashing music into highly compressed audio formats, thus impairing the listening quality; and reducing album cover art work and design into tiny thumbnail images that don’t do justice to the original. (If you can’t appreciate the significance and importance of album art work, this forthcoming documentary may change your mind.)
Of course, streaming is not the only way to consume music – we still have vinyl, CDs and even cassettes in current production. (And let’s not forget radio!) Although optimistic numbers about the vinyl revival of recent years have to be put in the context of the streaming behemoths, there is no doubt that this antique format still has an important role to play, for new releases, the box-set and reissue industry, and the second-hand market.
For myself, I’ve largely given up on Spotify and Apple Music: with the former, I don’t think there is enough transparency on streaming fees (especially those paid to independent artists and for self-released recordings) or how more popular artists and their labels can pay to manipulate the algorithms, plus the “recommendations” are often out of kilter with my listening preferences; with the latter, geo-blocking often means music I am looking for is not available in Australia. (As I am writing, Spotify is playing a track which has been given the wrong title, proving that their curation and editorial quality is not perfect.)
Streaming can also be said to be responsible for a type of content narrowcasting – the more often a song is streamed (especially one that has been sponsored or heavily promoted by a record label) the more often it will appear in suggested playlists. Some recent analysis by Rob Abelow suggests that fewer than 10% of songs on the Spotify billion stream club were released before 2000. This may have something to do with listener demographics (e.g., digital natives), but it also suggests that songs only available as streams (i.e., no download or physical release), or songs heavily marketed by labels wanting to promote particular content to a specific audience, will come to dominate these platforms.
Further evidence of how streaming is skewed towards major artists is a recent post by Damon Krukowski, showing how independent musicians like him are being “encouraged” to be more like megstars such as Ed Sheeran. Never mind the quality of the music, just think about the “pre-saves” and “countdown pages” (tools which are not yet available to every artist on Spotify?).
I’ve been using both Bandcamp and Soundcloud for more than 10 years, to release my own music and to discover new content. I began with Soundcloud, but soon lost my enthusiasm because they kept changing their business model, and they enabled more popular artists to dominate the platform with “premium” services and pay-to-play fees that favour artists and labels with bigger marketing budgets. Whereas Bandcamp appears to be doing a better job of maintaining a more level playing field in regard to artist access, and a more natural way for fans to connect with artists they already know, and to discover new music they may be interested in.
But all of this simply means that streaming has possibly peaked, at least as an emerging format. The industry is facing a number of challenges. Quite apart from ongoing disputes about royalty payments and album integrity, streaming is going to be disrupted by new technologies and business models, thanks to blockchain, cryptocurrencies and non-fungible tokens. These startups are going to improve how artists are remunerated for their work, create better engagement between creators and their audiences, and provide for more transparent content discovery and recommendations. Elsewhere, the European Union is considering ways to preserve cultural diversity, promote economic sustainability within the music industry, remove the harmful effects of payola, make better use of content metadata for things like copyright, creativity and attribution, and provide clear labeling on content that has been created using tools like AI.
Just for the record, I’m not a huge fan of content quotas (a possible outcome from the EU proposals), but I would prefer to see better ways to discover new music, via broadcast and online media, which are not dependent on regimented Top 40 playlists, the restrictive formats of ubiquitous TV talent shows, or record label marketing budgets. Australia’s Radio National used to have a great platform for new and alternative music, called Sound Quality, but that came off air nearly 10 years ago, with nothing to replace it. Elsewhere, I tune into BBC Radio 6 Music’s Freak Zone – not all of it is new music, but there is more variety in each 2 hour programme than a week’s listening on most other radio stations.
Next week: More Cold War Nostalgia
Happy Independence Day!!! This post has turned out to be quite timely, as I’ve just come back from a trip to the USA, following a hiatus of 4 years. Two weeks is hardly enough time for a full evaluation, and I spent most of the time in Colorado and New Mexico, with a few days in San Francisco at the end – but it was enough to gain a few significant impressions.
I hadn’t known what to expect, in a post-Trump, post-pandemic and post Roe vs Wade landscape. Nowhere on my (limited) itinerary would be considered MAGA territory, so it was difficult to get a balanced perspective. If anything, my experiences simply confirmed that America remains a complex, at times contradictory, and very often a deeply divided society. And, just like the Presidential electoral process, it remains perplexing to outsiders.
For example, I’d been advised to be aware of the fentanyl zombies, violent crime and the homeless camps on the streets of San Francisco. Even friends who are long-term residents of the city warned that the Downtown area around Union Square is “a bit rough”. Since I had planned to stay just south of Union Square, I must admit to some apprehension before I left Australia.
Another San Francisco resident I contacted before my trip had complained that: “[T]he news has done a number on San Francisco. While we have the same homeless problems as other large cities, it’s not as bad as it’s made out in the news. We are facing some impacts from companies buying at the height of the market and now backing out, which is why you are seeing some bankruptcies (and there will be [a] few more). But overall, the city is doing well.”
On the other hand, the guide on my day-long walking tour explained that of the 62 major cities in the USA, San Francisco is the slowest in recovering from the disruption of the pandemic. They also felt that California, and San Francisco in particular, had not done a very good job of implementing the legalisation of recreational cannabis use in the State. Since even legal businesses are having problems getting banked, all that cash in the system is a target for criminal activity.
In the event, my stay in San Francisco passed without incident. Yes, there was plenty of evidence of homelessness, drug and mental health issues, and that’s without having to venture into the Tenderloin district. However, there were also plenty of domestic and overseas tourists visiting the city. True, the main business district felt much quieter than on my previous visits, as people continue working from home – some companies have moved out and shops have closed down as a result. But elsewhere, the city felt normal, with people in their local neighbourhoods going about about their daily routines. I was surprised to see so many people wearing face masks, but given there were a number of public testing facilities still operating in parts of the city it suggests that COVID is still prevalent.
Prior to San Francisco, I had spent time in Denver, Boulder and Santa Fe. Admittedly I was there on a weekend, but Denver‘s Downtown area felt very quiet and hollowed out. Even the 16th Street Mall lacked vibrancy (maybe the major street works were a factor?), although there were more signs of life around the River North Arts District, Coors Field and of course Ball Arena as the Denver Nuggets took out their first NBA title.
The City of Boulder is a curious blend of old (gold rush) money, new (tech-flavoured) money, progressive politics (rainbow flags everywhere) and counter-culture lifestyles (“do you want CBD sprinkles on your espresso?”). I was treated to a ticket to see ’90s country star, Mary Chapin Carpenter playing at the historic Chautauqua Auditorium – an artist experiencing something of a comeback, and who manages to express liberal and inclusive values via a very conservative musical format. The support act was a musician whom I’d never heard of before, and who sang with a typical American country music twang – but when she spoke, she revealed herself to be Australian, and promptly played a song about the Melbourne streets of Fitzroy and Collingwood (this was also the song that was adapted as the theme to the “Wallender” TV series…). Separately, I was invited to dinner at Flagstaff House, one of Boulder’s best restaurants (with spectacular views). As a bonus, Boulder’s Pearl Street hosts an excellent record store, a couple of decent book shops, and cafes where it’s possible to get both a coffee and glass of wine at 5pm…
Higher up and further south, Santa Fe was something of a revelation. Not knowing what to expect, I thoroughly enjoyed my few days there: from a walking tour of the historic town centre, to sampling the wines of Gruet and D.H.Lescombes; from the numerous art galleries and museums to the Sunset Serenade of the Sky Railway; from the adobe-inspired architecture to the excellent food served everywhere. I learned more about American history in the 3-hour guided tour than a whole year of history lessons at my high school in England. The latter had largely focused on the events leading up to the American War of Independence (and taught mainly from a British perspective, of course). Whereas the contemporary walking tour provided a longer and more complex narrative that covered the key phases of New Mexico’s history: First Nation settlement, Spanish conquest, US annexation, Civil War intervention, and finally Statehood in 1912. Oh, and the plot to assassinate Trotsky and the nuclear tests of the Manhattan Project along the way. (NB – the Santa Fe tourism app was an invaluable guide to planning my itinerary.)
As much as I enjoy spending time in America, I can’t help observing that for what is ostensibly a secular country, religion plays a dominant, and at times domineering, role in political and public affairs – starting with the Federal motto of “In God We Trust”. I can’t understand why a Constitution and Bill of Rights that dis-established the Anglican Church (thereby separating Church from State), and which enshrine both the right to practice a religion and the freedom to adhere to no religion, has allowed certain religious tenets to impinge upon the rights and freedoms of others. A century ago it was the Temperance movement, more recently it was the Pro-Life camp, and now a range of issues (human evolution, flat earthers, gender diversity, sexual orientation, critical race theory, etc.) have many conservatives and fundamentalists working in league to dictate the public debate and constrain freedom of expression on such topics – meanwhile, it seems impossible to have a reasoned and mature discussion about gun control in the USA. Go figure!
Next week: Music streaming is so passé…
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