Spotify continues to make U.S. users hold out for a future that hasn’t arrived... yet.
“We expect that Spotify will launch in the United States in the next few months.” Sound familiar? How about, “We are confident that Spotify will launch by the end of the year”? Whether it’s a Daniel Ek keynote speech at South by Southwest or some other Spotify spokesperson speaking to the press, the promise of certain arrival of Spotify in the U.S. has been regurgitated again and again, with few results, much to the chagrin of techies and music lovers in the United States.
For over three years now, U.S. music consumers and fans have been left to salivate while over 16 million European users have been freely enjoying one of the greatest music apps on the planet. As each year passes, devotees in the U.S. silently wonder, “will this be the year that Spotify finally comes to America?” Well, as it is shaping up, 2011 might finally be that year.
It will be interesting to see if the looming cellular presence of Catholic Guilt will scare people away from the iPhone.
As a child, I tried, week after week, to convince my parents that we should just watch church services on TV on Sunday mornings. Doing so, I argued, was just as good as going to church. I lost this argument each and every week.
Now, the Catholic Church has blessed the new “Confession App” available for the iPhone. Though the Church has made it clear that this application is not meant to replace traditional confession, I can’t help but feel a certain amount of I-told-you-so-ness in this techno development.
For my part, I have eschewed cell phone use for most of my adult life for the most banal of reasons: I just don’t want to be accessible to any/everyone at all hours of the day. (Funny that I blog on the Internet, though). It will be interesting to see if the looming cellular presence of Catholic Guilt will scare people away from the iPhone. Also, I can’t help but wondering, given that this app hit the iTunes store after The Beatles did, if John Lennon was somehow right.
Frontline's investigation of digital culture re-airs on PBS 8 February.
New means of transmitting “news”, of making resistance and protest visible via Twitter, email, and cell phone footage—have been highlighted during the ongoing crisis in Egypt. And yet, if boundaries of identity and community are not in fact national or even state-secured or supported, then no one seems quite accountable for or even very careful about transgressing. Frontline: Digital Nation shows how advancing technologies not only bring faster and changed ways of processing, communicating, and conjuring ideas, but also produce gaps in experience and expectations.
Aiming to create a monster every day, artist David Irvine’s fascinating process emphasizes “experimentation with styles and medium and mood”.
“I have a passion for monsters and art, so I merged the two and started a Facebook group called ‘Monster-A-Day’,” he writes. “Everyday I try to post a monster that I drew, painted, sketched, etc., with one rule that it takes 15 minutes or less to complete.”
Nothing destroys the charm of a meal more quickly than having a personality.
In the decade it was on the air, Mystery Science Theater 3000 made piecemeal of almost two hundred really bad movies, the host and his two robot sidekicks adding an additional audio track of sarcastic commentary and other irreverence. But another mainstay of the show was the bevy of short films that the crew riffed on. Not every episode featured a short, but the shorts remain popular enough today to have been collected more than once for the home video market.
The majority of these shorts were chosen from the slew of self-improvement films produced in America during the 1950s, ostensibly to be shown to junior high and high school students. These “mental hygiene” shorts stressed ideals like obedience, cleanliness, temperance and other traditional “family values” associated with middle America after World War II.
The schlock and awe of these shorts alone makes them ripe for the MST3K treatment, but one short in particular stands out. “A Date with Your Family”, produced in 1950, is an instructional film depicting exactly how to conduct oneself for a most pleasant evening meal. The social angst and oppression pulsates off the film in nearly palpable waves, assisted in no short order by the narration of Hugh Beaumont. Beaumont is, of course, most well known for his depiction as the wise head of the Cleaver clan on that staple of Americana TV, Leave It to Beaver. For this short’s purposes, the benign yet firm voice of this uber-paterfamilias brooks no backsass from any smart-alecks who may be looking to ruin their family’s charming dinner by having an opinion or an original idea.
Mike Nelson, Kevin Murphy (as Tom Servo), and Trace Beaulieu (as Crow T. Robot) send this short up with evident glee. It is also interesting to note here that when this episode of MST3K first aired, it was the summer of 1994, the same year the Republican Party began its eventual take-over of the U.S. Congress with its “Contract with America”. This platform called for major cutbacks on welfare and other social reform and sought to return America to its original “family values”. These values were ridiculous enough in 1950, much more so in 1994.