02 October, 2009
Twitter Sketch
Yes, I am a geek and I love Mythbusters and this video got me excited for the upcoming new season. What really got my attention in this video is Adam Savage discussing his interactions with fans on Twitter and how a few ideas for the show was spawned by Twitter. Adam talks about how he doesn't really frequent the official Mythbusters message boards mainly because of the overall negative atmosphere there. While he doesn't deny that disagreements pop up on Twitter, he mentions that the dialogue on Twitter tends to be more civil. While people might moan that Twitter is making people dumber for limiting thoughts to only 140 characters, this constraint can also foster a different kind of cognitive challenge that seems to have other social implications.
One of the beauties of literature is the poem. Not the sappy, clichéd permutations of "Roses are red . . .", but real literature (Think Frost, Milton, Coleridge). The challenge is to pack a meaningful idea in an incredibly compact form. Classically, literature has its own versions of limits--the haiku, sonnet and ode. In a way, these are no different from the 140 character limit on Twitter. The cognitive obstacle is to pack in what you want to communicate in this short space. Yes, text acronyms and abbreviations can give you more room to play with, but the challenge remains the same. In a bizarre way, Twitter is our contemporary version of poetry, if only for the cognitive work involved in both forms. (Perhaps you shouldn't think about that for too long--I know I don't want to!) Again, there is still a lot of garbage on Twitter. Just because you can pack in your thought in a short space doesn't mean that that thought had any real importance to communicate. Deciding what to communicate in the first place is the majority of the battle.
The unintended side-effect is how this limited space doesn't allow for people to turn their opinions into long, drawn out diatribes. If you really want to carry out an argument on Twitter, you have to choose carefully what you want to say to have most impact. There is simply no room to ramble. Perhaps this is what contributes to Adam's perspective that Twitter leads to more civil debates. With most things in life, it comes down to balance. Of course anyone can post anything on Twitter and engage what they want to write with any amount of animosity or with the kindest of spirits.
---------------------------------------------------------------------------------
It happened today, October 2nd . . .
1950-Peanuts first published
1959-Twilight Zone premiered on CBS
Happy Birthday to . . .
Richard III-1452
Mohandas Gandhi-1869
Groucho Marx-1890
23 June, 2009
Album Review-Dream Theater "Black Clouds and Silver Lingings"
Since I was fortunate enough to get my pre-ordered copy of Dream Theater’s new album Black Clouds and Silver Linings a day earlier, I can write a review of it the day it’s released. Once again, Hugh Syme has masterfully executed the artwork on the album. His touch for the photorealistic and surreal is a wonderful fit for Dream Theater (don’t forget how many Rush albums he has worked on also—keep that in mind later). The production is one of the best, not only for Dream Theater, but for many recent releases. The draconian over-compression and rampant clipping found on their last album is far far away! Instead, engineer Paul Northfield (who has worked extensively with Rush also—hmm, interesting . . .) has done an outstanding mix, placing the drums a bit further back without losing its power and taking care not to allow the guitar and key leads to overpower the rest of the band. I recommend listening to the cd on a good pair of headphones or quality speaker setup with a good subwoofer—this is where the bass really comes through—you can really feel it thundering as the title of the album suggests. Again, technically, this album just sound superb, every facet of the band can be heard clearly without shortchanging a single lead or solo.
This is a testament to the quality of musicianship more than anything else. Notably, guitarist John Petrucci and Jordan Rudess on keys, continuum, iPhone, and whatever electronic device that emits sound he can get his hands on, offer their usual feast of notes and riffs, but have really made an effort to use their make their offerings work more cohesively with rest of the song structures. That really is the rallying cry of this whole album—the band, who had let their hair down and had some fun the last album, has returned with an album, that while not short on epic and extended compositions (the average song lasts 12 minutes), has made a focused effort on creating songs that are structured better and do not wander aimlessly. James LaBrie has seemed to found a new level of comfort with his vocal range as well as his limitations and come through with stellar performances throughout without sounding overly cheesy. Drummer Mike Portnoy excels once again. The problem with him is that since he is so consistently good, he only stands out if he delivers a sub-par performance. John Myung has dialed in his bass with the best tone he has ever had. It is big, crisp and still has enough punchiness. Myung has also given some of his tastiest bass lines to this album.
The first track, “A Nightmare to Remember”, is epic Dream Theater at their best. The opener is replete with one of the most soaring vocal lines in the chorus. Though there are very heavy and intense moments that can fit comfortably among the riffs of Train of Thought, during the softer moments, much of Petrucci’s guitar tones are reminiscent of the Awake days. And no Dream Theater epic is finished without a guitar and synth duel, but both Petrucci and Rudess know when enough is enough and move quickly to the meat and potatoes of the composition. The only disappointing point comes toward the end when Portnoy adds his own take on the aggressive growling vocals found in extreme metal—it comes off a bit too cheesy and takes a bit of the luster away from an otherwise great opening number
The first single of the album, “A Rite of Passage” takes a few listens to get into. If anything, it tries too hard to be big and epic, but then it falls into another catchy and rather commercial sounding chorus—seemingly a token single that will probably play well to the rest of Roadrunner Records metallic fan base. There are moments that if you didn’t hear the distinctive vocals of LaBrie, you would have thought some of the riffs and melodies come from a power metal band such as Blind Guardian, especially a riff that comes after the chorus that sounds much like one found in Blind Guardian’s “Another Stranger Me”.
Like many other reviewers have said, “Wither” is a welcome breath of air in the midst of the heavy and quicker-paced duo of beginning songs. Its vocal lines during the verses seem a bit too reminiscent of “The Ministry of Lost Souls” on their previous album. That being said, this is still one of the best ballads that Dream Theater has composed—blending the best of the string synth arrangements and supporting key work of Rudess and a stunning guitar solo that in the beginning echoes a bit of a Queen-esque run.
Much like the overtures on Six Degrees of Separation and Scenes from a Memory, “The Shattered Fortress” recaps much of the musical and lyrical motifs from the rest of Portnoy’s AA chronicle from the previous four albums. By itself, this song seems a bit thrown together, but seen as a capstone to a suite of songs, this works pretty well—a fun listen.
Following a rather somber, yet exquisite opening two minutes, “The Best of Times” is carried by an energetic riff totally inspired by Rush’s “The Spirit of Radio”. After a warm, nostalgic elegy to Portnoy’s late father, the song drifts into a quiet expression of sorrow. This song also bears the strong reflective tone of Rush’s “Red Barchetta”.
The album’s closer, “The Count of Tuscany”, bookends the album with yet another epic. It launches with an opening that again evokes the feeling of “Pull Me Under”, with a guitar tone that echoes those of Awake, as well as Rush’s “Xanadu” (which in turn reminds me of Dream Theater’s own “Trial of Tears” in a weird way). With so many connections to Rush, this album perhaps has more ties to classical prog rock than many might concede. “The Count” is filled with many of the tasty prog-metal twists and turns that has become a landmark of Dream Theater. It is the dominating chorus that is the most commercial sounding than anything else on the album that one would be accustomed hearing from a band like P.O.D. or the like. Oh, and the story of someone being enticed to check out some vintage wine in a creepy cellar only to be walled in by an eccentric aristocrat is absolutely inspired from Poe’s story “The Cask of Amontillado”!!
It is sometimes unfair to compare bands with substantial discographies based on their previous landmark albums. Good band change, they evolve, adding elements while hopefully losing ones that can date their music. Black Clouds and Silver Linings recalls the heaviness and brooding qualities of previous albums, such as Awake and Train of Thought. This offering lies somewhere in the middle, calling back the tight songwriting skills of Awake, while employing the heavy, metallic virtuoso music of Train of Thought. There are stunning, soaring, anthemic choruses throughout this album that hasn’t been heard from Dream Theater in quite a while. The subdued, supportive keyboard work of Rudess, again is a return to what made Dream Theater initially popular in progressive circles without losing his characteristic intricate and ornate leads. There are a few places don’t quite work, such as Portnoy’s attempt at aggressive vocals that falls short and the few melodies and choruses that sound a bit too polished and commercial, yet this is a triumphant return of a more focused and ever evolving Dream Theater.
This is a testament to the quality of musicianship more than anything else. Notably, guitarist John Petrucci and Jordan Rudess on keys, continuum, iPhone, and whatever electronic device that emits sound he can get his hands on, offer their usual feast of notes and riffs, but have really made an effort to use their make their offerings work more cohesively with rest of the song structures. That really is the rallying cry of this whole album—the band, who had let their hair down and had some fun the last album, has returned with an album, that while not short on epic and extended compositions (the average song lasts 12 minutes), has made a focused effort on creating songs that are structured better and do not wander aimlessly. James LaBrie has seemed to found a new level of comfort with his vocal range as well as his limitations and come through with stellar performances throughout without sounding overly cheesy. Drummer Mike Portnoy excels once again. The problem with him is that since he is so consistently good, he only stands out if he delivers a sub-par performance. John Myung has dialed in his bass with the best tone he has ever had. It is big, crisp and still has enough punchiness. Myung has also given some of his tastiest bass lines to this album.
The first track, “A Nightmare to Remember”, is epic Dream Theater at their best. The opener is replete with one of the most soaring vocal lines in the chorus. Though there are very heavy and intense moments that can fit comfortably among the riffs of Train of Thought, during the softer moments, much of Petrucci’s guitar tones are reminiscent of the Awake days. And no Dream Theater epic is finished without a guitar and synth duel, but both Petrucci and Rudess know when enough is enough and move quickly to the meat and potatoes of the composition. The only disappointing point comes toward the end when Portnoy adds his own take on the aggressive growling vocals found in extreme metal—it comes off a bit too cheesy and takes a bit of the luster away from an otherwise great opening number
The first single of the album, “A Rite of Passage” takes a few listens to get into. If anything, it tries too hard to be big and epic, but then it falls into another catchy and rather commercial sounding chorus—seemingly a token single that will probably play well to the rest of Roadrunner Records metallic fan base. There are moments that if you didn’t hear the distinctive vocals of LaBrie, you would have thought some of the riffs and melodies come from a power metal band such as Blind Guardian, especially a riff that comes after the chorus that sounds much like one found in Blind Guardian’s “Another Stranger Me”.
Like many other reviewers have said, “Wither” is a welcome breath of air in the midst of the heavy and quicker-paced duo of beginning songs. Its vocal lines during the verses seem a bit too reminiscent of “The Ministry of Lost Souls” on their previous album. That being said, this is still one of the best ballads that Dream Theater has composed—blending the best of the string synth arrangements and supporting key work of Rudess and a stunning guitar solo that in the beginning echoes a bit of a Queen-esque run.
Much like the overtures on Six Degrees of Separation and Scenes from a Memory, “The Shattered Fortress” recaps much of the musical and lyrical motifs from the rest of Portnoy’s AA chronicle from the previous four albums. By itself, this song seems a bit thrown together, but seen as a capstone to a suite of songs, this works pretty well—a fun listen.
Following a rather somber, yet exquisite opening two minutes, “The Best of Times” is carried by an energetic riff totally inspired by Rush’s “The Spirit of Radio”. After a warm, nostalgic elegy to Portnoy’s late father, the song drifts into a quiet expression of sorrow. This song also bears the strong reflective tone of Rush’s “Red Barchetta”.
The album’s closer, “The Count of Tuscany”, bookends the album with yet another epic. It launches with an opening that again evokes the feeling of “Pull Me Under”, with a guitar tone that echoes those of Awake, as well as Rush’s “Xanadu” (which in turn reminds me of Dream Theater’s own “Trial of Tears” in a weird way). With so many connections to Rush, this album perhaps has more ties to classical prog rock than many might concede. “The Count” is filled with many of the tasty prog-metal twists and turns that has become a landmark of Dream Theater. It is the dominating chorus that is the most commercial sounding than anything else on the album that one would be accustomed hearing from a band like P.O.D. or the like. Oh, and the story of someone being enticed to check out some vintage wine in a creepy cellar only to be walled in by an eccentric aristocrat is absolutely inspired from Poe’s story “The Cask of Amontillado”!!
It is sometimes unfair to compare bands with substantial discographies based on their previous landmark albums. Good band change, they evolve, adding elements while hopefully losing ones that can date their music. Black Clouds and Silver Linings recalls the heaviness and brooding qualities of previous albums, such as Awake and Train of Thought. This offering lies somewhere in the middle, calling back the tight songwriting skills of Awake, while employing the heavy, metallic virtuoso music of Train of Thought. There are stunning, soaring, anthemic choruses throughout this album that hasn’t been heard from Dream Theater in quite a while. The subdued, supportive keyboard work of Rudess, again is a return to what made Dream Theater initially popular in progressive circles without losing his characteristic intricate and ornate leads. There are a few places don’t quite work, such as Portnoy’s attempt at aggressive vocals that falls short and the few melodies and choruses that sound a bit too polished and commercial, yet this is a triumphant return of a more focused and ever evolving Dream Theater.
17 June, 2009
Just Tweeting Away
Nothing makes the way we live stand out more than when other differing cultures adapt and utilize the same products, media and technology that we use on a daily basis. It has been hard to ignore what has been happening in Iran in the past week. As a people and country that has had its full share of turmoil and transformations, the people of Iran finally have a chance to taste a morsel that has fallen off the table of freedom and democracy. I can’t imagine seeing lines outside polling places of people waiting to vote in the first place. It would be an entirely surreal experience to see a political contest conclude in such turmoil over its own legitimacy. This makes the controversy of the election of 2000 seem like a minor sandbox squabble. We are indeed spoiled, yet immensely blessed to witness the peaceable transfer of major nation-wide power every four to eight years. How would we in the US respond if we felt the entire election was an entire sham? Would we be willing to band together in the face of an oppressive regime? Or even stand in the freezing cold as thousands did during the Orange Revolution in Ukraine?
It is amazing how the people of Iran are using text messaging and Twitter. This rapid form of communication has mobilized such a coordinated effort of those opposing the rigged election. Not only do these Tweets spread the word of what rallies and demonstrations are happening around the country, but also what events are staged by the government to trap dissenters. In contrast, most users in the western world find that they must let everyone know every single detail of their daily existence from what exactly they are consuming at 2:28 AM to what they found picking their noses. This isn’t to say that these things aren’t interesting or of any importance, but rather that these are things that don’t have to be shared all the time with a wide public audience. There is a distinct narcissism that comes with one thinking that they are of such great magnitude that every soul must know all these things about them. This level of instant communication is not something that should be immediately demonized. On the contrary, when used it the right way, these things are extremely useful. It comes down to the motivation behind what we post. Is it really to elevate one’s self? Hopefully we take a good look at how the people in Iran are using the same technology as we do. The only difference is the grave seriousness of what they are communicating.
It is amazing how the people of Iran are using text messaging and Twitter. This rapid form of communication has mobilized such a coordinated effort of those opposing the rigged election. Not only do these Tweets spread the word of what rallies and demonstrations are happening around the country, but also what events are staged by the government to trap dissenters. In contrast, most users in the western world find that they must let everyone know every single detail of their daily existence from what exactly they are consuming at 2:28 AM to what they found picking their noses. This isn’t to say that these things aren’t interesting or of any importance, but rather that these are things that don’t have to be shared all the time with a wide public audience. There is a distinct narcissism that comes with one thinking that they are of such great magnitude that every soul must know all these things about them. This level of instant communication is not something that should be immediately demonized. On the contrary, when used it the right way, these things are extremely useful. It comes down to the motivation behind what we post. Is it really to elevate one’s self? Hopefully we take a good look at how the people in Iran are using the same technology as we do. The only difference is the grave seriousness of what they are communicating.
03 March, 2009
U2-No Line on the Horizon
There will always be tons of buzz generated whenever U2 does anything, let alone release their first album since 2004 (It has been five years already?!). When I saw that the whole album was streaming up on Myspace, I was tempted to see if all the hype was real. I am glad I waited to actually drive to the store, buy the CD and wrestle with the packaging. The first single, "Get On Your Boots" was already starting to get a bit tiring, but CD quality blew away anything I heard previously streamed online, revealing lots of nuance.
Starting in 2000 with All That You Can't Leave Behind, through How to Dismantle an Atomic Bomb, up to No Line on the Horizon, it's amazing how each album sounds different, yet remain unmistakably U2. Off the bat, No Line on the Horizon has more in common with All That You Can't Leave Behind with its slower pace. After trying to fit as many "U2-ish" arena songs into the last album, No Line on the Horizon is much more roomy, but don't take that as simple. There is lots of nuance in this album, most from the drumming of the band's rock Larry Mullen Jr. Though the tempo has slowed on this album, it doesn't mean the music is softer. Melodies and rythyms are allowed to expand, fill up space an envelope the room. Just when you think they are going to build up into a huge anthemic chorus, U2 tempers the pace before returning. It's an album that requires one to stop, sit down and just listen.
No Line on the Horizon might not be as good as U2's most recent albums, but it's guaranteed to be another hit. It's apparent they are pacing themselves so they don't jump the shark (yet again) on their latest resurgance. I'm sure as they tour, they will pour new life into these songs and have people wishing that what they just heard live was what on the album.
Starting in 2000 with All That You Can't Leave Behind, through How to Dismantle an Atomic Bomb, up to No Line on the Horizon, it's amazing how each album sounds different, yet remain unmistakably U2. Off the bat, No Line on the Horizon has more in common with All That You Can't Leave Behind with its slower pace. After trying to fit as many "U2-ish" arena songs into the last album, No Line on the Horizon is much more roomy, but don't take that as simple. There is lots of nuance in this album, most from the drumming of the band's rock Larry Mullen Jr. Though the tempo has slowed on this album, it doesn't mean the music is softer. Melodies and rythyms are allowed to expand, fill up space an envelope the room. Just when you think they are going to build up into a huge anthemic chorus, U2 tempers the pace before returning. It's an album that requires one to stop, sit down and just listen.
No Line on the Horizon might not be as good as U2's most recent albums, but it's guaranteed to be another hit. It's apparent they are pacing themselves so they don't jump the shark (yet again) on their latest resurgance. I'm sure as they tour, they will pour new life into these songs and have people wishing that what they just heard live was what on the album.
22 February, 2009
Chinese and Philosphical Buffet
You know when you step into a Chinese buffet that you will be overwhelmed with a sampling of culinary delights, but less expected is experiencing a wave of talk about religion, culture and society. On the table next to me were four guys trying to squeeze their heaped plates of fried rice and sesame chicken between stacks of several thick books covering a generous sampling of archeology, religion, astronomy, philosophy and Christianity. I couldn't help but try to listen in on what these seemingly inquisitive minds were conversing about. Soon, it became apparent that half of that group were questioning Christianity's place within the intellectual realms of truth, while the other two were attempting to answer and defend the veracity of the Bible and Christ's teachings.
The one thing that really stood out about the two guys defending that their "un-religion" that gives them as much inspiration and spiritual fortitude to handle life is how important science is in informing them about truth. Obviously, to them, scientific inquiry was truth that left no room in questioning its own hallowed halls. I think they hit the nail on the head. Science has become its own religion. The questions and criticisms of blindly followed religions that they were railing against Christianity could easily be leveled against science itself.
What realy got me thinking critically about science was when I started learning more and more about theoretical world of quantum physics that went beyond Newtonian physics. As one dives beyond the sub-atomic level, all the known rules of how matter behaves can be thrown out the window. In this seemingly chaotic world, it becomes apparent how much we don't know about the world. In fact, it may question much of what we do know of how the world works. What this shows me is that once we as humans start thinking we know so much about the universe, it gets all broken apart. It becomes quite clear that science isn't truth itself, but a lens with which we can observe what is around us and make some understanding of it all.
The more and more science is broken down and you get into the minute facets of physics and the material universe, the more you inevitable start talking about philosophy. The more one tries to accumilate fact upon fact against one skeptical of Christianity, the more the dicussion breaks down because it's like using the same stones to build opposing fortresses against each other. When the dicussion takes these facts and applies the mortar of philosophical questions of what these facts really mean to our daily lives, these stones or facts become construction, building a bridge between opposing sides.
The one thing that really stood out about the two guys defending that their "un-religion" that gives them as much inspiration and spiritual fortitude to handle life is how important science is in informing them about truth. Obviously, to them, scientific inquiry was truth that left no room in questioning its own hallowed halls. I think they hit the nail on the head. Science has become its own religion. The questions and criticisms of blindly followed religions that they were railing against Christianity could easily be leveled against science itself.
What realy got me thinking critically about science was when I started learning more and more about theoretical world of quantum physics that went beyond Newtonian physics. As one dives beyond the sub-atomic level, all the known rules of how matter behaves can be thrown out the window. In this seemingly chaotic world, it becomes apparent how much we don't know about the world. In fact, it may question much of what we do know of how the world works. What this shows me is that once we as humans start thinking we know so much about the universe, it gets all broken apart. It becomes quite clear that science isn't truth itself, but a lens with which we can observe what is around us and make some understanding of it all.
The more and more science is broken down and you get into the minute facets of physics and the material universe, the more you inevitable start talking about philosophy. The more one tries to accumilate fact upon fact against one skeptical of Christianity, the more the dicussion breaks down because it's like using the same stones to build opposing fortresses against each other. When the dicussion takes these facts and applies the mortar of philosophical questions of what these facts really mean to our daily lives, these stones or facts become construction, building a bridge between opposing sides.
04 February, 2009
An Out-of-Body Reading Experience
The other day I was sitting in Starbucks and glimpsed a copy of newspaper out of the corner of my eye. The two people sitting at the table next to me were speaking way too loud and I couldn't concentrate on the book I had brought to read. (That's a topic for another day . . .) Out of the corner of my eye, I spotted a newspaper and start leafing through the pages. Let me just say that newspapers are rather awkward to read when you don't have a nice, big table to lay the thing and you must hold it up at a comfortable level to read an article from top to bottom, or I am just a bit clumsy with the most mundane things.
As I started to read this newspaper in my usual way, something odd leaped out at me--I was extremely aware of how I was reading. I didn't just read articles on each successive page I turned. I found myself quickly flipping through the whole thing, glancing at each page and taking in each headline. I might have read a paragraph or two of an article, but didn't read the entire thing. Then, I went back and read the articles that really caught my attention. All this time, I'm thinking, 'Gee, I must look so weird flipping back and forth through this newspaper as if I have ADD or something'. Now, I was wondering if I'm just plain eccentric, or if there is a reason why I read this way.
Oddly, this whole experience made me realize that reading this way let me pay more attention to articles that I really want to read since I kind of 'previewed' the rest of the paper. I think this is a reason why I like to read reviews--whether its music, movies, etc. There is just so much information and stimuli that hits us from all over our society and culture that we need some kind of way to filter through everything and just focus on what is meaningful to us. At the same time, this kind of 'previewing' also allows someone to expose himself to a variety of different viewpoints and experiences without going crazy trying to find out everything about so many different subjects.
As I started to read this newspaper in my usual way, something odd leaped out at me--I was extremely aware of how I was reading. I didn't just read articles on each successive page I turned. I found myself quickly flipping through the whole thing, glancing at each page and taking in each headline. I might have read a paragraph or two of an article, but didn't read the entire thing. Then, I went back and read the articles that really caught my attention. All this time, I'm thinking, 'Gee, I must look so weird flipping back and forth through this newspaper as if I have ADD or something'. Now, I was wondering if I'm just plain eccentric, or if there is a reason why I read this way.
Oddly, this whole experience made me realize that reading this way let me pay more attention to articles that I really want to read since I kind of 'previewed' the rest of the paper. I think this is a reason why I like to read reviews--whether its music, movies, etc. There is just so much information and stimuli that hits us from all over our society and culture that we need some kind of way to filter through everything and just focus on what is meaningful to us. At the same time, this kind of 'previewing' also allows someone to expose himself to a variety of different viewpoints and experiences without going crazy trying to find out everything about so many different subjects.
Subscribe to:
Posts (Atom)