Music – Live – John Murry, Bush Hall 8 May 2013

There’s one moment here when John Murry approaches perfection. If you’re familiar with his album The Graceless Age, you’ll guess what I mean. The encore. ‘Little Coloured Balloons’. Murry’s stark, raw, account of his heroin addiction and his near death from an overdose in the Mission District. He mumbles an intro and explains that he’s really just trying to avoid singing the song. But when he starts, we are transfixed. No guitars, just keyboard and vocals. As the song reaches the climax ‘I took an ambulance ride / they said I should have died / on 16th and Mission’ Murry turns and walks offstage to huge applause as the band keeps playing.

To request a further encore after that would be completely superfluous, and no-one does. This was honestly one of the best and most intense musical experiences I’ve had this year. The rest of the set is good, based around a more conventional bass/eletric guitar lineup, but LCB is on a whole different level. I’m reminded of early Eels or maybe early Wilco – or maybe E’s pre-Eels albums or late Uncle Tupelo – I feel like Murry is at the level that E or Tweedy were at then, by which I mean that there is hopefully a lot more to come from him yet.

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Manchester Marathon, April 2013

In which I describe my attempt to run my first marathon, in Manchester.

I’m up early. The hotel restaurant has a special early breakfast for runners. It appears to be their usual breakfast, only earlier. I eat a lot of cereal and fruit, and for some reason decide that bacon and sausages would also go down well.

The race village and start/finish are at Old Trafford. The journey to the start line is uneventful, the tram packed with other runners who all look more prepared than me, with better gear, in better shape. Most are quiet, in their own thoughts – a few joke nervously. Outside Old Trafford cricket ground we pass groups of  large, tough looking men with shopping bags full of beer  – surely they’re not queuing for the cricket? It dawns on me – United fans getting ready for the trip to London to watch the Arsenal game.

The preparation area is crowded. The bag storage is run by an efficient group of army cadets, but the changing area is cramped. Again, my gear looks worse than anyone’s, but at least I’ve tracked down some safety pins to hold my race number on. Long queues for toilets. No reason to hang around, I head for the start.

We’re lined up according to our predicted finish times. There are pace markers, people running a set pace while holding a sign showing what pace they are running. It’s crowded, but not overly so. Friends taking photos. The announcer alternating between jokes and words of encouragement. A 26 second silence to remember the victims of the Boston Marathon bombing, followed by 26 seconds of applause. Ever since Princess Diana’s death it seems as though applause is the way we remember people. It makes sense at a football game – a minute’s silence can be ruined by a few drunk or obnoxious fans chanting – but that wouldn’t be an issue today. I still find it odd.

And then after waiting what seems like forever, the gun goes. And then more waiting – I’m so far back that it takes me several minutes to even reach the start line. The first few minutes are mostly jostling for position, trying to get into a rhythm on the crowded roads. And the cliches are true – a huge number of runners head for the toilets as soon as the race starts, apparently out of nerves.

The first few miles take a lot of concentration, as there’s a lot of people trying to run at different speeds, trying to find their comfortable pace and position on the course. A lot of overtaking, and I’m trying to be careful not to move into one runner’s way while giving another runner room.

Even with my headphones on, the support is impressive. A lot of people on the course, even though it isn’t a particularly residential area. A lot of banners as well – “run, bitches!”; “my mascara runs faster than you”; “only 23 miles to go”; “you’re burning enough calories for 14 pints” [though I wonder if that one was viral advertising, as they mentioned a particular brand....].

A few miles in and things get easier. I’ve found my rhythm and feeling good. The race starts to thin out, slightly. I’m sitting in a comfortable position, about 200 metres behind the 4:00 pace sign. It’s still crowded, but manageable.  Up until the halfway point or so, this is how the race goes. Steady running, with the same people around me. I’m mostly paying attention to myself and the music I’m listening to.

Around 11 miles in I pass my support crew (OK, Rhonda), and again when we turn round just after 13 miles. I stop for a photo. I’ve gone through the halfway mark in a fraction over 2 hours, and I’m feeling OK.

I cruise through the next few miles, but then my problems start. I need to use the toilet, but there’s a long queue – after waiting a few minutes I give up. I up my pace to get back to my target time.  A few miles later there’s another toilet which again requires a two minute wait and again I raise my pace.  The inspirational music of Arnocorps comes through my headphones and again I speed up. This was a mistake – I suddenly feel a sharp pain in the back of my knee, where I’ve never injured myself before.

I stop and stretch for a while. A fellow runner who’d stopped earlier comes over to me and commiserates, suggesting that the flatness and lack of variation of the course is causing us problems. I text Rhonda to tell her I might be late finishing. I try jogging a couple of times but soon have to stop, so I walk a couple of miles. At this point I’m obviously being passed by a lot of people. But after those miles, I’m able to alternate walking and jogging without too much pain.

The support is great by this point. Lots of people cheering, calling out our names. Young children holding out their palms for us to slap as we pass them, or offering us trays of sweets for energy. I’m amused by the spectator who shouted ‘looking good Emma, looking good Claire…..come on Simon!” (clearly I wasn’t looking good at all….).

For much of this time we’re on fairly quiet country roads, but we reach the city again for the last few miles. I can see the Old Trafford stands ahead of me, but they don’t seem to be getting any closer. After what feels like basically forever I reach the final few metres, the Bishop’s Blaize pub (where the hardcore United fans come up with chants before games); United legend Lou Macari’s fish and chip shop, and then turning the corner into the final stretch, which I stagger down (somewhat annoyed at the people who are sprinting past me to the finish, notably the women running hand-in-hand. Show-offs).

But I made it. Not quite in my target time (4:15) but not far off (4:22). And I was surprisingly OK afterwards. My knees felt terrible when walking up or down stairs, as usual after I run long distances, but I made it…for a few hours afterwards I was vowing never to do it again, but within a day or two I was thinking about a training programme to run a sub-4:00 marathon. We shall see.

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The Spotify series #1: why (and how) I use Spotify

With its long-delayed launch last week in the US, there’s been a fair bit of interest in music streaming service Spotify. I haven’t seen any librarian blog posts yet, but there’s been a lot of discussion on Google+ and among my Facebook friends. So I thought I’d share my experiences, as somone who’s been using Spotify for a couple of years, both in the free and paid version.

As a disclaimer, I love Spotify. One of my main reasons for buying my smartphone was so I could use mobile Spotify.  I’m a bit of a fanboy, basically.

So: Spotify is music streaming service with a free, limited version and a subscription version that costs 10 currency units per month (£10 in the UK, $10 in the US, 10 euros in the EU).  The free version is limited to 10 hours/month and 5 plays of any one song, it also has ads. The subscription version can be used on mobile devices and has no ads. It also has a Radio feature.

The Spotify database contains around 10 million songs. (Rdio apparently has 7 million – I’ve never used Rdio and can’t because I’m outside the US, but I’ve seen many comments from Americans that they have tried Spotify but are sticking with Rdio).

Spotify’s major strength is the size of its database. At 10 million, there is a huge range of content here [1]. Unfortunately, the social side of Spotify isn’t great (I’ll discuss this more in a later post), so it’s best used for known-item searching.

How I use Spotify

1. Creating playlists for festivals. Any European music festival will have dozens of playlists. Here’s mine for the End of the Road festival (folk and indie/alt-rock). Without really promoting it I have 30-odd subscribers, only a couple of whom I’ve met. I create comprehensive playlists, others go for one song per artist, or the top five songs. As a result, by the time I go to a festival, I’ve been primed with a handful of bands to check out, that I would never have known about. (My discovery of the Duke and the King, and the Low Anthem, especially, I owe to Spotify).

2. Checking out new releases. Spotify’s new releases feature is weak, but there are third party sites that do this better. I subscribe to Spotimy‘s new releases playlist, which updates weekly. They also have playlists for the best reviewed albums, and more. It’s trivial to browse the Spotimy playlist and check out artists that I might never have bothered with, otherwise. Some users create monthly playlists – the best I’ve found is I Am Not the Enemy‘s 50 song monthly playlist of indie, Americana, electronica and more.

3.  Generally browsing playlists. Spotify isn’t good at this, unless you’re already friends with the creator, and they have set the playlist to public. Otherwise, you have to rely on someone sending you a URL. Luckily, the excellent website Share My Playlists does exactly what it says – anyone can upload a playlist, the best will be publicised. It contains anything from recreations of known playlists (Rolling Stone or Pitchfork ‘best of’ lists) to playlists created by labels or artists, to general thematic or stylistic or personal playlists.

4. Checking out new bands. Here, Spotify works really well with last.fm: the songs I play on Spotify are scrobbled to last.fm, which suggests recommended artists and gigs. I can quickly go back to Spotify to check out the bands: I’ve discovered David Cronenberg’s Wife and Dignan Porch, both playing at my local pub, this way.

5. Discovering new music. Spotify contains a radio setting, which lets you play tracks based on a mix of genre(s) and decade: 60s soul, 70s punk, 80s hiphop and 90s pop, or any other combination. (50s techno doesn’t work very well). And because Spotify is a library rather than a radio station, you can skip forward or backwards, or start listening to other tracks by any of the artists. Spotify also has artist radio, good for discovering bands similar to those you already know. (Note that I’m told that the radio function isn’t available on free Spotify).

6. Playing through an artist’s discography. So far, I’ve listened to every Sonic Youth album, in sequence.

In the next post: what Spotify does badly, and what Spotify is not.

[1] In an unscientific test, I checked for albums by my 12 most played bands on last.fm

  1. Wilco: all albums including the live Kicking Television, but only some of the tracks from the Mermaid Avenue albums they recorded with Billy Bragg.
  2. The National: the last three albums and the Virginia EP, but not the first two.
  3. The Mountain Goats: 10 out of 13 studio albums, plus 3 compilations.
  4. Pixies: All five albums plus two compilations and the B-Sides compilation, and a number of singles. At the BBC is the only one missing.
  5. The Magnetic Fields: All eight albums plus the House of Tomorrow EP and some singles.
  6. The New Pornographers: All five albums.
  7. The Flaming Lips: A huge number of EPs and albums, not quite comprehensive, but it’s mostly here.
  8. Ramones: A few classics missing: Road to Ruin and Leave Home, plus the mid-career trilogy of Animal Boy, Halfway to Sanity and Too Tough to Die. Still, that leaves 9 of their 14 studio albums, plus two live albums and several compilations.
  9. The Beatles: none (only iTunes has legal Beatles content online)
  10. Glasvegas: both studio albums.
  11. Eels: All nine studio albums, two live and all three compilations.
  12. The Low Anthem: all four albums.
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Wednesday roundup

Interesting posts I’ve seen this week:

Search for the answer, not the question – Hidden Peanuts. A discussion of search processes: “Assume the answer to your question is out there, and think about how the answer might have been written”.

Who judges what “good” search results are? – Librarian of Fortune. “we info pros are far more data-tolerant than most people. Wading through page after page of search results is just fine with us” – and we forget that our clients aren’t like that. (We want recall – don’t miss anything, they want precision – ensure everything they get is useful).

Introducing One-Pager – Walking Paper. You remember how a few years back, there was a lot of talk about ‘sucky’ OPACs and library websites? Well, Aaron Schmidt has done something about it – built a “library website template that allows your patrons to find what they want”.  It’s simple, it’s designed for mobile devices and to allow patrons to do what they want, fast. (It’s deliberately not interactive – “[w]hile we value two-way communication with patrons, we value usable library websites more. Patrons are better served by being able to easily find what they want than by being able to leave a comment”. Hear hear).

Six Reasons the Google Books settlement failed – NY Review of Books (via Library Stuff). Goes into some depth, and discusses alternative models for digital libaries seen in Europe, and how they might apply in the US.

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Harper Collins and ebooks

I’d assume everyone has already seen this news, it’s certainly been all over Twitter (#hcod) and various blogs. In short: Overdrive has announced that Harper Collins ebooks available through libraries will now expire after 26 loans. That’s ebooks that the libraries thought they were purchasing.

Further, libraries will be required to work with Overdrive to “review and audit policies regarding an eBook borrower’s relationship to the library (i.e. customer lives, works, attends school in service area, etc.)”, and there are further issues relating to library consortia. [Much more at Librarian by Day, Librarian In Black, and David Lee King].

My initial thoughts went something like ‘this is stupid, and 26 loans is clearly too low, but I’m somewhat sympathetic because publishers have to protect revenue somehow. They can only sell one  copy of an ebook, whereas print books wear out or are lost or stolen, and have to be replaced.’ But that’s analogue thinking. Even if a library only buys one copy of Harry Potter instead of ten, so what? They can spend the excess money on more books! Everyone wins – the library has a decent-sized collection and the publishers still make money. And besides, at least with the current model we can only use one copy of each ebook at a time – libraries may still need to buy multiple copies of popular works.

I was more sympathetic to the second argument. Let’s say a library in, oh, San Francisco issues library cards to users in London. The London libraries don’t need to buy ebooks  – their users can just borrow books from SF. Ultimately you could end up with one library lending to everyone worldwide. But again, that can’t happen, because only one person at a time can borrow an ebook. My initial thoughts were wrong.

This is a regressive move. Publishers could be working with libraries to get more books to more people, and instead they are imposing artificial scarcities to protect an analogue business model.

My hope is that this is just a step on the path to new models – something like Netflix or Spotify for books. There’s a powerful argument for that model – it works, it’s legal, and the creators make money from it. At the moment, we’re too early in the move from print to digital, but hopefully in a few years publishers will have thought this through a bit better.

Reactions from around the web:

Sarah Houghton-Jan and Andy Woodworth have created an ebook user’s bill of rights. Among other things, it argues against DRM and in favour of the right of first sale for ebooks.

Phil Bradley calls the move stupid, points out that it isn’t hard to pirate books anyway, and suggests that libraries should refuse to buy any ebooks that contain DRM.

Already, a website has been started calling for a boycott, though some aren’t sure [Librarian by Day] it’s the best idea.

The Annoyed Librarian (seriously, go read this one even if you don’t like him/her) has some left-field suggestions, including the idea that libraries begin teaching filesharing literacy.

Obviously, librarians can’t just download illegally shared books and link them from their catalogs, though that would be pretty funny until the lawsuits started.Nor can they advocate that library patrons engage in illegally filesharing copyrighted material. That would be wrong. Very wrong. So don’t even think about it.

However, not all filesharing is illegal. BitTorrent is a perfectly legal means to share and download all sorts of free and legal content. Perhaps libraries should make a concerted effort to teach everyone in the country how to use BitTorrent and other services.

Justin Hoenke (guesting at Tame The Web) argues that this development is really an opportunity…for revolution!:

Let’s use this slap in the face as an opportunity to make libraries modern institutions. For a while now, we’ve loaned popular materials like DVDs in our communities. To many people, libraries are like free versions of Blockbuster. Meanwhile, our unique local collections are hidden away, either hard to browse or physically out of reach. Instead of giving patrons access to cutting-edge technology they can use to create original works and teaching them how to use it, we give them basic Internet connections so they can watch YouTube clips and Facebook themselves into oblivion. We’ve become lazy, boring; extensions of people’s living rooms, essentially.

And now that we’re being squeezed out of lending popular materials like ebooks, what do we lend out?  The answer is simple: we turn to our community to create the content that we collect.  We “check out” distinctive experiences and educational opportunities to our patrons instead of the Twilight saga ad nauseam. We become the go-to place for people to record music, film movies, write original stories, and do anything else creative, educational, and life-improving.

It’s a compelling argument, and, while I don’t think it tells the whole story, it certainly provides us with part of our path forward. [I mean, I still want to be able to walk into my local library and get decent books, on paper, you know what I mean? I'm sure Justin wasn't implying that it has to be one or the other].

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Two good articles from Current Cites

Volume 56, Issue 1 of Current Cites came out just before Christmas (subscribe here). It had two articles that I found particularly interesting; the first an article by Keith Webster of the University of Queensland, discussing the conversion of the academic library from a storehouse for books to a working and learning space for students. It’s not totally easy reading for those of us who believe that punk print’s not dead, but it’s probably right in its conclusions that libraries need more workspace, and the only way to get that space is to remove little-used print collections.

There’s also a link to an interesting research article by Jakob Neilsen: “[who] conducted  research with 43 students across the globe to study how they interact with websites, including university sites. They were given specific tasks to do on each site, and were also given some open-ended searching opportunities. The results busted three myths of student Internet use: (1) Students are technology wizards; (2) Students crave multi-media and fancy design; and (3) Students are enraptured by social networking. The students
often preferred simple design, and repeated comments that have been heard again and again in website usability studies (e.g. website text should be easy to scan).”

The third point relates to finding corporate/official information – students looked to official organisational websites for this information, not to the organisation’s Facebook page – social networking was for fun and for interacting with friends (and was, of course, widely used for these purposes), not for serious information. Definitely some implications there for those of us designing online services for students.

[The first summary is my wording of Keith Webster's points; the second is quoting directly from Roy Tennant in the Current Cites email]

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LIANZA conference papers online

The presentations and powerpoints from the LIANZA conference were published a little while ago. You can see videos and (PDFs of) presentations here. Two I liked were:

Carol Tenepir on ways of quantifying thevalue of academic libraries – critical incident analysis of faculty journal readings, return on investment of libraries in terms of grant income, etc.

Marilyn Fordyce and Paula Hasler on demand driven e-book selection: Moving beyond “just in time” collection development at the University of Otago.

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