Category Archives: music

Jazz and Identity: Comment on Lydon’s Iyer Interview

Radio Open Source » Blog Archive » Vijay Iyer’s Life in Music: “Striving is the Back Story…”.

Sounds like it will be a while before the United States becomes a truly post-racial society.

Iyer can define himself as American and he can even one-up other US citizens in Americanness, but he’s still defined by his having “a Brahmin Indian name and heritage, and a Yale degree in physics.”

Something by which I was taken aback, at IU Bloomington ten years ago, is the fact that those who were considered to be “of color” (as if colour were the factor!) were expected to mostly talk about their “race” whereas those who were considered “white” were expected to remain silent when notions of “race” and ethnicity came up for discussion. Granted, ethnicity and “race” were frequently discussed, so it was possible to hear the voices of those “of color” on a semi-regular basis. Still, part of my culture shock while living in the MidWest was the conspicuous silence of students with brilliant ideas who happened to be considered African-American.

Something similar happened with gender, on occasion, in that women were strongly encouraged to speak out…when a gender angle was needed. Thankfully, some of these women (at least, among those whose “racial” identity was perceived as neutral) did speak up, regardless of topic. But there was still an expectation that when they did, their perspective was intimately gendered.

Of course, some gender lines were blurred: the gender ratio among faculty members was relatively balanced (probably more women than men), the chair of the department was a woman for a time, and one department secretary was a man. But women’s behaviours were frequently interpreted in a gender-specific way, while men were often treated as almost genderless. Male privilege manifested itself in the fact that it was apparently difficult for women not to be gender-conscious.

Those of us who were “international students” had the possibility to decide when our identities were germane to the discussion. At least, I was able to push my «différence» when I so pleased, often by becoming the token Francophone in discussions about Francophone scholars, yet being able not to play the “Frenchie card” when I didn’t find it necessary. At the same time, my behaviour may have been deemed brash and a fellow student teased me by calling me “Mr. Snottyhead.” As an instructor later told me, “it’s just that, since you’re Canadian, we didn’t expect you to be so different.” (My response: “I know some Canadians who would despise that comment. But since I’m Québécois, it doesn’t matter.”) This was in reference to a seminar with twenty students, including seven “internationals”: one Zimbabwean, one Swiss-German, two Koreans, one Japanese, one Kenyan, and one “Québécois of Swiss heritage.” In this same graduate seminar, the instructor expected everyone to know of Johnny Appleseed and of John Denver.

Again, a culture shock. Especially for someone coming from a context in which the ethnic identity of the majority is frequently discussed and in which cultural identity is often “achieved” instead of being ascribed. This isn’t to say that Quebec society is devoid of similar issues. Everybody knows, Quebec has more than its fair share of identity-based problems. The fact of the matter is, Quebec society is entangled in all sorts of complex identity issues, and for many of those, Quebec may appear underprepared. The point is precisely that, in Quebec, identity politics is a matter for everyone. Nobody has the luxury to treat their identity as “neutral.”

Going back to Iyer… It’s remarkable that his thoughtful comments on Jazz end up associated more with his background than with his overall approach. As if what he had to say were of a different kind than those from Roy Hayes or Robin Kelley. As if Iyer had more in common with Koo Nimo than with, say, Sonny Rollins. Given Lydon’s journalistic background, it’s probably significant that the Iyer conversation carried the “Life in Music” name of  the show’s music biography series yet got “filed under” the show’s “Year of India” series. I kid you not.

And this is what we hear at the end of each episode’s intro:

This is Open Source, from the Watson Institute at Brown University. An American conversation with Global attitude, we call it.

Guess the “American” part was taken by Jazz itself, so Iyer was assigned the “Global” one. Kind of wishing the roles were reversed, though Iyer had rehearsed his part.

But enough symbolic interactionism. For now.

During Lydon’s interview with Iyer, I kept being reminded of a conversation (in Brookline)  with fellow Canadian-ethnomusicologist-and-Jazz-musician Tanya Kalmanovitch. Kalmanovitch had fantastic insight to share on identity politics at play through the international (yet not post-national) Jazz scene. In fact, methinks she’d make a great Open Source guest. She lives in Brooklyn but works as assistant chair of contemporary improv at NEC, in B-Town, so Lydon could probably meet her locally.

Anyhoo…

In some ways, Jazz is more racialized and ethnicized now than it was when Howie Becker published Outsiders. (hey, I did hint symbolic interactionism’d be back!). It’s also very national, gendered, compartmentalized… In a word: modern. Of course, Jazz (or something like it) shall play a role in postmodernity. But only if it sheds itself of its modernist trappings. We should hear out Kevin Mahogany’s (swung) comments about a popular misconception:

Some cats work from nine to five
Change their life for line of jive
Never had foresight to see
Where the changes had to be
Thought that they had heard the word
Thought it all died after Bird
But we’re still swingin’

The following anecdote seems à propos.

Branford Marsalis quartet on stage outside at the Indy Jazz Fest 1999. Some dude in the audience starts heckling the band: “Play something we know!” Marsalis, not losing his cool, engaged the heckler in a conversation on Jazz history, pushing the envelope, playing the way you want to play, and expected behaviour during shows. Though the audience sounded divided when Marsalis advised the heckler to go to Chaka Khan‘s show on the next stage over, if that was more to the heckler’s liking, there wasn’t a major shift in the crowd and, hopefully, most people understood how respectful Marsalis’s comments really were. What was especially precious is when Marsalis asked the heckler: “We’re cool, man?”

It’s nothing personal.


Landing On His Feet: Nicolas Chourot

Listening to Nicolas Chourot‘s début album: First Landing (available on iTunes). Now, here’s someone who found his voice.

A few years ago, Nicolas Chourot played with us as part of Madou Diarra & Dakan, a group playing music created for Mali’s hunters’ associations.

Before Chourot joined us, I had been a member of Dakan for several years and my perspective on the group’s music was rather specific. As an ethnomusicologist working on the original context for hunters’ music, I frequently tried to maintain the connection with what makes Malian hunters so interesting, including a certain sense of continuity through widespread changes.

When Nicolas came up with his rather impressive equipment, I began to wonder how it would all fit. A very open-minded, respectful, and personable musician, Nicolas was able to both transform Dakan’s music from within and adapt his playing to a rather distant performance style. Not an easy task for any musician and Nicolas sure was to be commended for such a success.

After a while, Chourot and Dakan’s Madou Diarra parted ways. Still, Nicolas remained a member of the same informal music network as several people who had been in Dakan, including several of my good friends. And though I haven’t seen Nicolas in quite a while, he remains in my mind as someone whose playing and attitude toward music I enjoy.

Unfortunately, I was unable to attend the launch of Nicolas’s launch/show, on August 29. What’s strange is that it took me until today to finally buy Nicolas’s album. Not exactly sure why. Guess my mind was elsewhere. For months.

Ah, well… Désolé Nicolas!

But I did finally get the album. And I’m really glad I did!

When I first heard Nicolas’s playing, I couldn’t help but think about Michel Cusson. I guess it was partly because both have been fusing Jazz and “World” versions of the electric guitar. But there was something else in Nicolas’s playing that I readily associated with Cusson. Never analyzed it. Nor am I planning to analyze it at any point. Despite my music school background and ethnomusicological training, I’ve rarely been one for formal analysis. But there’s something intriguing, there, as a connection. It’s not “imitation as sincerest form of flattery”: Chourot wasn’t copying Cusson. But it seemed like both were “drinking from the same spring,” so to speak.

In First Landing, this interpretation comes back to my mind.

See, not only does Chourot’s playing still have some Cussonisms, but I hear other voices connected to Cusson’s. Including that of Cusson’s former bandmate Alain Caron And even Uzeb itself, the almost mythical band which brought Caron and Cusson together.

For a while, in the 1980s, Uzeb dominated a large part of Quebec’s local Jazz market. At the time, other Jazz players were struggling to get some recognition. As they do now. To an extent, Uzeb was a unique phenomenon in Quebec’s musical history since, despite their diversity and the quality of their work, Quebec’s Jazz musicians haven’t become mainstream again. Which might be a good thing but bears some reflection. What was so special about Uzeb? Why did it disappear? Can’t other Jazz acts fill the space left by Uzeb, after all these years?

I don’t think it’s what Nicolas is trying to do. But if he were, First Landing would be the way to go at it. It doesn’t “have all the ingredients.” That wouldn’t work. But, at the risk of sounding like an old cub scout, it has “the Uzeb spirit.”

Which brings me to other things I hear. Other bands with distinct, if indirect, Uzebian connections.

One is Jazzorange, which was a significant part of Lausanne’s Jazz scene when I was living there.My good friend Vincent Jaton introduced to Jazzorange in 1994 and Uzeb’s alumni Caron and Cusson were definitely on my mind at the time.

Vincent, musician and producer extraordinaire, introduced me to a number of musicians and I owe him a huge debt for helping me along a path to musical (self-)discovery. Vincent’s own playing also shares a few things with what I hear in First Landing, but the connection with Jazzorange is more obvious, to me.

Another band I hear in connection to Chourot’s playing is Sixun. That French band, now 25 years old, is probably among the longest-lasting acts in this category of Jazz. Some Jazz ensembles are older (including one of my favourites, Oregon). But Sixun is a key example of what some people call “Jazz Fusion.”

Which is a term I avoided, as I mentioned diverse musicians. Not because I personally dislike the term. It’s as imprecise as any other term describing a “musical genre” (and as misleading as some of my pet peeves). But I’m not against its use, especially since there is a significant degree of agreement about several of the musicians I mention being classified (at least originally) as “Fusion.” Problem is, the term has also been associated with an attitude toward music which isn’t that conducive to thoughtful discussion. In some ways, “Fusion” is used for dismissal more than as a way to discuss musical similarities.

Still, there are musical features that I appreciate in a number of Jazz Fusion performances, some of which are found in some combination through the playing of several of the musicians I’m mentioning here.

Some things like the interactions between the bass and other instruments, some lyrical basslines, the fact that melodic lines may be doubled by the bass… Basically, much of it has to do with the bass. And, in Jazz, the bass is often key. As Darcey Leigh said to Dale Turner (Lonette McKee and Dexter Gordon’s characters in ‘Round Midnight):

You’re the one who taught me to listen to the bass instead of the drums

Actually, there might be a key point about the way yours truly listens to bass players. Even though I’m something of a “frustrated bassist” (but happy saxophonist), I probably have a limited understanding of bass playing. To me, there’s a large variety of styles of bass playing, of course, but several players seem to sound a bit like one another. It’s not really a full classification that I have in my mind but I can’t help but hear similarities between bass performers. Like clusters.

Sometimes, these links may go outside of the music domain, strictly speaking.  For instance, three of my favourite bassists are from Cameroon: Guy Langue, Richard Bona, and Étienne Mbappe. Not that I heard these musicians together: I noticed Mbappe as a member of ONJ in 1989, I first heard Bona as part of the Zawinul syndicate in 1997, and I’ve been playing with Langue for a number of years (mostly with Madou Diarra & Dakan). Further, as I’m discovering British/Nigerian bass player Michael Olatuja, I get to extend what I hear as the Cameroonian connection to parts of West African music that I know a bit more about. Of course, I might be imagining things. But my imagination goes in certain directions.

Something similar happens to me with “Fusion” players. Alain Caron is known for his fretless bass sound and virtuosic playing, but it’s not really about that, I don’t think. It’s something about the way the bass is embedded in the rest of the band, with something of a Jazz/Rock element but also more connected to lyricism, complex melodic lines, and relatively “clean” playing. The last one may relate, somehow, to the Fusion stereotype of coldness and machine-like precision. But my broad impression of what I might call “Fusion bass” actually involves quite a bit of warmth. And humanness.

Going back to Chourot and other “Jazz Fusion” acts I’ve been thinking about, it’s quite possible that Gilles Deslauriers (who plays bass on Chourot’s First Landing) is the one who reminds me of other Fusion acts. No idea if Bob Laredo (Jazzorange), Michel Alibo (Sixun), Alain Caron (Uzeb), and Gilles Deslauriers really all have something in common. But my own subjective assessment of bass playing connects them in a special way.

The most important point, to me, is that even if this connection is idiosyncratic, it still helps me enjoy First Landing.

Nicolas Chourot and his friends from that album (including Gilles Deslauriers) are playing at O Patro Výš, next Saturday (January 23, 2010).


Speculating on Apple’s Touch Strategy

This is mere speculation on my part, based on some rumours.

I’m quite sure that Apple will come up with a video-enabled iPod touch on September 9, along with iTunes 9 (which should have a few new “social networking” features). This part is pretty clear from most rumour sites.

AppleInsider | Sources: Apple to unveil new iPod lineup on September 9.

Progressively, Apple will be adopting a new approach to marketing its touch devices. Away from the “poorperson’s iPhone” and into the “tiny but capable computer” domain. Because the 9/9 event is supposed to be about music, one might guess that there will be a cool new feature or two relating to music. Maybe lyrics display, karaoke mode, or whatever else. Something which will simultaneously be added to the iPhone but would remind people that the iPod touch is part of the iPod family. Apple has already been marketing the iPod touch as a gaming platform, so it’s not a radical shift. But I’d say the strategy is to make Apple’s touch devices increasingly more attractive, without cannibalizing sales in the MacBook family.

Now, I really don’t expect Apple to even announce the so-called “Tablet Mac” in September. I’m not even that convinced that the other devices Apple is preparing for expansion of its touch devices lineup will be that close to the “tablet” idea. But it seems rather clear, to me, that Apple should eventually come up with other devices in this category. Many rumours point to the same basic notion, that Apple is getting something together which will have a bigger touchscreen than the iPhone or iPod touch. But it’s hard to tell how this device will fit, in the grand scheme of things.

It’s rather obvious that it won’t be a rebirth of the eMate the same way that the iPod touch wasn’t a rebirth of the MessagePad. But it would make some sense for Apple to target some educational/learning markets, again, with an easy-to-use device. And I’m not just saying this because the rumoured “Tablet Mac” makes me think about the XOXO. Besides, the iPod touch is already being marketed to educational markets through the yearly “Back to school” program which (surprise!) ends on the day before the September press conference.

I’ve been using an iPod touch (1st Generation) for more than a year, now, and I’ve been loving almost every minute of it. Most of the time, I don’t feel the need for a laptop, though I occasionally wish I could buy a cheap one, just for some longer writing sessions in cafés. In fact, a friend recently posted information about some Dell Latitude D600 laptops going for a very low price. That’d be enough for me at this point. Really, my iPod touch suffices for a lot of things.

Sadly, my iPod touch seems to have died, recently, after catching some moisture. If I can’t revive it and if the 2nd Generation iPod touch I bought through Kijiji never materializes, I might end up buying a 3rd Generation iPod touch on September 9, right before I start teaching again. If I can get my hands on a working iPod touch at a good price before that, I may save the money in preparation for an early 2010 release of a new touch device from Apple.

Not that I’m not looking at alternatives. But I’d rather use a device which shares enough with the iPod touch that I could migrate easily, synchronize with iTunes, and keep what I got from the App Store.

There’s a number of things I’d like to get from a new touch device. First among them is a better text entry/input method. Some of the others could be third-party apps and services. For instance, a full-featured sharing app. Or true podcast synchronization with media annotation support (à la Revver or Soundcloud). Or an elaborate, fully-integrated logbook with timestamps, Twitter support, and outlining. Or even a high-quality reference/bibliography manager (think RefWorks/Zotero/Endnote). But getting text into such a device without a hardware keyboard is the main challenge. I keep thinking about all sorts of methods, including MessagEase and Dasher as well as continuous speech recognition (dictation). Apple’s surely thinking about those issues. After all, they have some handwriting recognition systems that they aren’t really putting to any significant use.

Something else which would be quite useful is support for videoconferencing. Before the iPhone came out, I thought Apple may be coming out with iChat Mobile. Though a friend announced the iPhone to me by making reference to this, the position of the camera at the back of the device and the fact that the original iPhone’s camera only supported still pictures (with the official firmware) made this dream die out, for me. But a “Tablet Mac” with an iSight-like camera and some form of iChat would make a lot of sense, as a communication device. Especially since iChat already supports such things as screen-sharing and slides. Besides, if Apple does indeed move in the direction of some social networking features, a touch device with an expanded Address Book could take a whole new dimension through just a few small tweaks.

This last part I’m not so optimistic about. Apple may know that social networking is important, at this point in the game, but it seems to approach it with about the same heart as it approached online services with eWorld, .Mac, and MobileMe. Of course, they have the tools needed to make online services work in a “social networking” context. But it’s possible that their vision is clouded by their corporate culture and some remnants of the NIH problem.

Ah, well…


Shuffling Answers

The latest “meme-like” thing I’ve seen (on Facebook):

  1. put the ipod on shuffle
  2. use it to answer the question
  3. hit “next”
  4. try not to cheat

Sounds fun. The result is that we notice patterns in pseudo-randomness.

I decided to use a slightly different method. I’m using the last twenty tracks which appear in iTunes as “recently played,” after I sync my iPod touch. For some reason, this list doesn’t include the most recent tracks but it does include a series of tracks which played in sequence, last night. I was brewing and my iPod touch was in shuffle. It all sounds less random than the original rules would make it but I decided on that method before using it. Not intention of cheating or tweaking the results. After all, there’s no such as a guilty pleasure, in music.

Without further ado… (These are put in reverse chronological order.)

  1. How am I feeling today?
    • Attention Mesdames et Messieurs, Michel Fugain, Gold
  2. How far will I get in life?
    • I Want Tomorrow, Enya, The Celts
  3. What is my best friend’s theme song?
    • Hand in My Pocket, Alanis Morissette, Jagged Little Pill
  4. What was high school like?
    • Summertime, Al Jarreau, Tenderness
  5. How will today be?
    • Je suis venu te dire que je m’en vais, Serge Gainsbourg, De Gainsbourg à Gainsbarre (disc 2)
  6. What is in store for me this weekend?
    • Real Estate, Chelsea Bridge (Big Band), Double Feature
  7. What is the best thing about me?
    • Le baiser, Alain Souchon, Au ras des pâquerettes
  8. What song describes my parents?
    • Storms in Africa, Enya, Watermark
  9. How is my life going?
    • Farafina Dembe, Mali Compil, Mali Compil
  10. What song will they play at my funeral?
    • Sweet Lullaby (Q-Bass mix), Deep Forest, Sweet Lullaby
  11. How does the world see me?
    • Ghost World, Aimee Mann, Bachelor No. 2 (or, The Last Remains of the Dodo)
  12. What do my friends think of me?
    • Viajar Canção, Paulo Ramos, Futuro
  13. Do people secretly think I’m good looking?
    • Alice au pays d’Arto (valse), La Bottine Souriante, Rock & Reel
  14. How can I make myself happy?
    • Bungalow, Valérie Lemercier, Chante
  15. What should I do with my life?
    • Croquis et agacières d’un gros bonhomme en bois: III, Erik Satie, Piano Works (Daniel Varsano)
  16. What is some good advice?
    • Super Bowl Sundae, Ozomatli, Ozomatli
  17. Will I get married?
    • J’ai oublié le jour, Beau Dommage, Où est passée la noce?
  18. Where will I go in life?
    • Shepherd Moons, Enya, Shepherd Moons
  19. Will I have kids?
    • Alexandre – Danse Bulgare, Malicorne, Le Bestiaire
  20. What is my current theme song?
    • Cherokee, Big Band De Lausanne, Spring Song

Some of these I find quite funny. For instance, Souchon’s «Le baiser» (“The Kiss”) as the best thing about me. Or that people would see me as a ghost, suggested by Aimee Mann’s song. Not to mention that the answer about marriage comes from an album which has «noce» (“wedding”) in the title. At the same time, some answers only seem to make some sense, if I try quite hard. So I can see some connection between secrets about physical appearance and «Alice au pays d’Arto» (“Alice in Arto’s Land”) through some interpretation of Lewis Carroll’s work.

I do notice that there are several tracks by Enya. There are 24 Enya tracks out of 1665 on my iPod touch so I don’t really think it’s an artefact of the pseudo-random shuffling algorithm. But my iPod touch playlist isn’t that representative of my music collection (tracks are selected automatically by iTunes). And I found those tracks rather fitting for my mood at the time.

Yes, I’m preemptively responding to “playlistism.” While I sincerely think that no music listening should be deemed “guilty,” I know that people do judge others based on their musical choices. And I get defensive.

In this case, there are some tracks I enjoy more than others. Some tracks are quite representative of my musical tastes. And there’s some level of diversity in this selection.

All in all, a fun exercise.


Ce que mes amis sont devenus

Quelques anciens de Notre-Dame-de-PontmainOn a bien vieilli!

Quelques anciens de Notre-Dame-de-Pontmain

C’est-tu pas une belle gang, ça? Nous étions quelques anciens de l’école primaire Notre-Dame-de-Pontmain de Laval à bruncher ensemble en ce dimanche, 26 octobre 2008. Une journée à marquer d’une pierre blanche.

via Facebook | Photos de Notre-Dame-de-Pontmain

Il y a quelque-chose de profond dans le fait de revoir des amis d’enfance. Vraiment. C’est un peu difficile à verbaliser, mais ça se comprend bien.

Il y a un peu plus d’un an, je me demandais ce que mes amis étaient devenus. Je cherchais alors à contacter quelques personnes pour les inviter à mon anniversaire de mariage. C’est d’ailleurs en préparant cet anniversaire que j’ai parcouru des réseaux d’anciens. Suite à cet anniversaire, j’ai manifesté ma fierté d’avoir des amis si fascinants. Aujourd’hui, je souhaite de nouveau célébrer l’amitié.

Pour un papillon social, c’est pas très surprenant. J’aime entrer en contact avec les gens, que je les aie connus plus tôt ou non. Que voulez-vous, j’aime le monde. Tel que mentionné dans un billet précédent, je me suis autrefois senti ostracisé. Je sais pas s’il y a une causalité entre mon identité comme papillon social et mon enfance, mais je trouve que c’est un pattern intéressant: le type porté vers les autres, qui passe une enfance plutôt solitaire, devient un papillon social à l’âge adulte. L’image de la «chenille sociale» est assez forte aussi!

Outre la publication de cette photo, ce qui me motive à écrire ce billet c’est Facebook. Si si! Parce que ce petit groupe d’anciens poursuit la discussion. Parce qu’on se «retrouve», dans un sens très profond, grâce à Facebook. Et parce que j’ai revisité ma liste d’amis sur Facebook et je suis encore plus fier.

Voyez-vous, je créais une «liste d’amis» sur Facebook, pour ces anciens du primaire. Cette fonction de liste d’amis sur Facebook est un peu limitée mais elle peut être utile si, comme tout semble l’indiquer, notre groupe d’anciens décide d’organiser d’autres événements. Pour organiser le brunch, j’ai fait parvenir une invitation à tous les membres du groupe Facebook des anciens de notre école alors que j’aurais mieux fait de cibler ceux de ma «cohorte». C’est un petit détail pratique, mais ça m’a permis de réfléchir.

Parce qu’en créant cette liste d’amis, je me suis rendu compte à quel point j’ai une idée assez précise de ce qui me lie à chacun de mes contacts sur Facebook. Dans ce cas-ci, j’ai rapidement pu sélectionner ceux que j’ai rencontrés au primaire, ceux que j’ai connus au secondaire et ceux avec qui je suis allé au Cégep. Parmi les autres, il y a des blogueurs, des musiciens, des spécialistes de la bière et/ou du café, des collègues du milieu académique, quelques amis de mes amis, quelques anciens étudiants et quelques personnes qui ont manifesté un intérêt spécifique à mon égard. Pour le reste, ce sont des gens que j’ai rencontré en-ligne ou hors-ligne, généralement dans un contexte spécifique. Sur 471 contacts que j’ai sur Facebook à l’heure actuelle, moins d’une trentaine (27, pour être précis) que je n’étais pas en mesure d’identifier immédiatement. Parmi eux, peut-être trois ou quatre par rapport auxquels persiste une certaine ambiguïté. Et plusieurs personnes qui font partie de mon réseau direct mais que je n’ai pas rencontré très directement. En d’autres termes, des gens avec qui j’ai des liens moins étroits mais dont la présence dans mon réseau social est «pleine de sens», surtout si on pense aux fameux «liens faibles» (“weak ties”). D’ailleurs, ces liens faibles constituent une part importante de ce que j’ai tendance à appeler «l’effet du papillon social», par référence à l’effet papillon d’Edward Lorenz. Pour mémoire (selon TF1):

Prévisibilité : est-ce que le battement des ailes d’un papillon au Brésil peut déclencher une tornade au Texas?

Enfin… J’inclue surtout cette citation pour conserver quelques notes au sujet de cet effet. C’est une sorte de digression assez égoïste.

Toujours est-il que… Nous disions donc… Ah… Oui!

«Retrouver» mes amis, mes connaissances, mes liens, ça fait battre mes ailes de papillon social.

Flap flap!


Les filles sont volages

Malicorne, Gabriel Yacoub, a cappella

Les Filles Sont Volages
Les filles sont volages, fréquentez les donc pas
Un jour elles vous aiment, un jour elles vous aiment pas
Par un dimanche au soir, m’en allant promener
J’ai entendu la belle chanter une chanson
En vidant les bouteilles, les verres et les flacons
Je m’suis approché d’elle, pour lui parler d’amour
M’a répondu la belle – galant retire toi
Y’en a un autre que j’aime, bien plus joli que toi
S’il faut que je m’retire, je me retirerai
Dans un couvent la belle, j’irai finir mes jours
Vous ne pourrez pas dire que j’vous ai pas aimé


CC Salon: Creative Community

[Apologies in advance for style. More of a straightforward write-up than my usual prose. Quite possibly, most people prefer this but I feel more comfortable rambling away than “reporting.”]

Went to Austin CC Salon last night. CC Salon is a series of events “focused on building a community of artists and developers around Creative Commons licenses.”

Creative Commons (CC) licenses are tools meant to help creators in maintaining some rights over the “content” they produce (music, text, video…) while avoiding the chilling effects caused by Copyright and the “culture of ownership.” Though the Creative Commons organization was founded by a tech-savvy law professor and CC licenses are a tech-savvy solution to a legal problem, the social and cultural implications behind CC reach far beyond technological and legal contexts.

Last night’s event was held at Café Caffeine, a community-focused café/venue which happens to be in my neighborhood. The same café is host to the Jelly in Austin co-working sessions.

So… What happened last night at Café Caffeine?

A stimulating and thought-provoking event, to be sure. Also an event which provided the kind of casual and open atmosphere that I find most conducive for thoughtful discussion. In other words, I felt that I really was among like-minded people, despite all sorts of differences in our experiences and our approaches to technology and society.

Some of the people involved in last night’s event:

Neff presented The American Cancer Society‘s SharingHope.tv advocacy project and online video service. What made that site impressive, IMHO, was its adequate balance between message and technology. Such an important group as the American Cancer Society getting a high degree of geek cred. In some circles (including CC Salon, one would assume), it’s the best of both worlds.

Neff himself was remarkably enthusiastic, thoughtful, and level-headed in his approach to online video. Uncompromising in his dedication to the ACS mission and as poised as any developer can be in his approach to technological issues. In fact, Neff repeatedly referred to the importance of a respectful attitude toward users. And you could tell, from the way he talked about users, that he truly cares.

Neat!

For his part, Vázquez served as moderator and presented two online services meant to make it easy to find CC-licensed music online: Jamendo (a CC-friendly online music service with “pay what you want” compensation models) and CCMixter (mostly meant as a repository for remix-worthy samples).

In parallel to Vázquez’s presentation, mentions of several recent situations involving Copyright and Creative Commons licenses helped brush a clear picture of what the current “culture of ownership” implies.

But, again, what worked best for me went beyond what was said or even how it was said. My comfort level had more to do with a sense of belonging. Related to communitas. A community of experience, potentially the basis of a community of practice.

Overall, I hope CC Salon will become the basis for community building in Austin as elsewhere. Predictably, a significant portion of last night’s informal gathering was spent discussing legal, financial, and technical issues. But, clearly, these are people who are adept at crossing bridges in order to link people into actual communities.

Some random notes I took during and after CC Salon.

  • Exposure to CC
    • Importance
    • Methods
      • QR-Codes for CC content
    • Possible outcomes
  • Grassroots etiquette
    • Crowd’s shared values (not just “wisdom of crowds”)
    • Efficient in transition period
  • CC in academia/education
    • Related to Open Access
    • Citation practice
    • Citation software and services (Zotero, RefWorks, Google Scholar)
    • Following links between references
    • Scholarship as “remixing”
  • Random idea:
  • CC musicians
    • Jams
      • Trying each other out
      • Playing together
      • Playful musicking
    • Shows/concerts/gigs
    • Band
    • Music community
      • Kalmunity-like?
  • Mixing
    • Playful mixing
    • Audio editing (Pro Tools, Audition, Audacity…)
    • iLife GarageBand for CC?
    • Songbird for mixing?
    • CC loops
    • CC tracks
    • GB-like FLOSS project

Facebook Playing With My Mind

Took a look at the homepage for my Facebook account and I notice something new, below the birthday announcements. Some profile summaries with a mention that I might know these people. Nothing really awkward there, probably just a new feature. Although, Facebook has this strange (and potentially annoying) habit of changing features without warning us.

But still not mindblowing, or even mindplaying.

There’s a “Show All” button in that box and, when I click on it, I get to a Friend Finder page where I see a series of profile summaries with the heading: “People You May Know. Found based on your existing connections. Do you know any of these people? Add people you know as friends to make these results even better for you.”

Next to each profile summary:

You both know: [links to mutual friends]
Add To Friends|(View Friends)|Message

Again, nothing really weird. (Without warning,) Facebook browsed my connections and found some mutual friends. Some applications do things like these.

But, here’s where things get a bit less obvious: the first time I look at this page, I see a list of people I don’t recognize with mentions of some of my contacts (friends and acquaintances). Overall, these contacts are people I had assumed were unconnected. Granted, they all live or have lived in Montreal (my hometown). And some of them are somehow involved in music. But even the musicians among them are working in quite separate music scenes within Montreal’s music landscape.

According to this list, Richard (one of my contacts) has eleven connections in common with twelve of my friends and acquaintances. These twelve friends and acquaintances of mine presumably have little in common with the people that both Richard and I know. None of these twelve contacts of mine are connected directly to Richard on Facebook. They all know some of Richard’s contacts but my connections to them are very diverse: former students, former bandmates, a childhood friend, a fellow brewclub member, etc. I’ve met these people at very different stages of my life and I just couldn’t assume any of them would know one another. Again, all of these people have some connection to Montreal but given Montreal’s population, I find it quite surprising that my network would cluster so much across contact types.

I felt compelled to send a couple of messages about this. To Richard (this acquaintance of mine who seemed to have many mutual acquaintances with people I know). And to two of the people who were listed as possible acquaintances of mine (one of whom I probably did meet, a number of years ago).

Fascinating stuff for a social scientist like me.

But where it gets mindplaying is when, coming back to the Friend Finder page, the list of possible acquaintances is radically different from what it was the first time. This time, most of the people in the list belong to YulBlog, Montreal’s blogging community. That community has a relatively high clustering coefficient so I basically assumed that many of those YulBloggers are friends with some of my blogging friends. I did meet with several of these bloggers at blog meetings but I prefer letting them judge whether or not we should be linked through Facebook. So, this new Friend Finder page looks pretty normal, Which makes the first Friend Finder page seem more unusual. Playing with my mind.

It’s possible that the first Friend Finder page was a glitch. Facebook has been known to have some bugs recently, as they implement (some would say “impose”) changes in the way they handle things like privacy and contact lists. But, looking at Richard’s contact list, it does seem that these people really are all connected, albeit indirectly.

Lest you should mistake my enthusiasm for flabbergastment, I must say that while I find these connections surprising, I still understand that they’re fairly easy to explain. The effect, though, is one of puzzlement at the extent of the Small World Effect. I feel as though my world were much tinier and much more clustered than I had ever assumed. Especially the Montreal portion of my social world. And I thought my friends were diverse… 😉

Yes, I know. I should just draw the network chart and let people reach their own conclusions.

Ah, well…


Playfully Noted

Got a number of things about which I want to blog. Many of them in notes/outline form. Might have to wait a bit.

But one thing which keeps coming up is the notion of playfulness. Been blogging about it a bit over the years,  especially since this February 2006 post which was connected with my teaching. The next day, I was posting a short entry in French about playfulness in music. Music playing in the strongest sense. Free play.

That was over two years ago. Flies are being timed.
Still thinking about playfulness quite a bit. In music, learning, technology…
What I mean by playfulness is rather simplistic, but it works: free, undirected, aimless, open behavior. Acts of playfulness, in my mind, appear not to be goal-oriented nor competitive. Extremely low stakes. Failure isn’t even registered. No evaluation whatsoever. The opposite of performance, to go back to performance theory which inspired part of that first entry.
Of course, my notion of playfulness might be different to that of many of the people who work on and “play with” games. Some people conceive of fun as embedded in competition. As I’m personally not very competition-driven, my conception and perception are different.
I’m neither a game theorist nor an avid gamer. At best, I’d be labelled as one of those “casual gamers” game developers are finally trying to reach. So: I’m no expert. But I do enjoy discussions of playfulness facilitated by those who work on game. Thanks in part to the video game industry, playfulness is making its way into the technology/education confluence as well as in corporate circles.
Some recent things I’ve thought about in terms of playfulness.
Playing music on Touch devices or other handhelds. My French post on “easy musicking” mentioned Electroplankton. Other forms of handheld musicking:

Can’t help but think that handheld music can really “spring up,” especially in terms of casual musicking. With the release of the software development kit for Apple’s Touch devices, there’s mindshare for handhelds as ultimate interface.

Of course, music games are gaining attention and people are jumping on the bandwagon. After all, music games may mean big business. Usually, I blog about music at Critical World or at my ethnomusicology course blog. Here, I’m mostly thinking about playfulness. And music games aren’t really playful in my sense of the term. Too competitive.

In terms of playful learning, I’ve been thinking quite a bit about “playing with data.” In part thanks to Gapminder, that I just discovered through Google Spreadsheets (even though Gapminder’s Trendalyzer software has been acquired by Google over a year ago). In my mind, Hans Rosling’s 2006 and 2007 TED presentations about Gapminder really capture the spirit of playful learning. Especially in connection to critical thinking, open-mindedness, creativity, and cultural awareness. (Anthro FTW!)

Now, if I could only get paid to do a project on using Touch devices for playful musicking in learning contexts… 😉


Music, Coffee, Digital Life

“These are a few of my favourite things…”

I keep thing that music and coffee have a lot to do with one another. I’m also a wannabe geek. So I’m quite interested in the recently-announced Apple/Starbucks partnership to distribute music via wireless connections.

Apple – iTunes – Starbucks

Haven’t read much discussion about this deal yet. After all, the iPod touch is generating a lot more buzz. But I think this partnership can lead to something.

Makes a lot of sense, this deal. Brand recognition. Co-branding. New avenues for music distribution. “Physical locations” and computer networks. Music discovery through exposure. Impulsive buying. Selling an ambiance.

As it so happens, I’ve been a fan of many Apple products. I’m not a total Apple fanboy. And I’m certainly not an “unconditional” of the company. But I do tend to be overly enthusiastic about some products they release and the approach they’re taking. I did get contracts as a campus representative for Apple about ten years ago. And I have high hopes for the company. So, I think this can be a good thing for Apple and I’m looking forward to that, even if it doesn’t change anything in my life.

I’m also an ethnomusicologist and a musician. I care about people’s enjoyment of music. And I care about musicians making a living through their musical activities. Because this can mean increased music sales, “I’m all for it.” Of course, I have some reservations about the way the iTunes music store works. But the basic principle makes a lot of sense and is pretty much musician-friendly.

I care a lot about cafés. I do think they’re important locations for a lot of things to happen. I even take notes about what I think the ideal café would be for me. And I celebrate the opening of new cafés where I live. So I think my love for cafés is well-served by an association with music. I had been thinking about a similar system for a while now, thinking that cafés would be great places to “diffuse” music. So I can’t complain that this dream I had is being fulfilled.

The only thing is, I have a thing about Starbucks. Not that I think it’s the most evil company in the world. But I dislike a lot of the effects they’ve had on the world of coffee. Some of their business tactics are very close to bullying so I enjoy it when they lose to a café owner. I also find the quality of their coffee to be subpar. Contrary to what many people in the United States seem to feel, I don’t get the impression that Starbucks increased my ability to get quality coffee. In fact, because of Starbucks and other café chains, I feel that coffee has often decreased in quality and certainly in diversity since Starbucks started its “worldwide” expansion. I’m not anti-globalisation. But I’m against the bulldozing of café culture.

Not to mention that I prefer local initiatives to provide free WiFi connections to local communities to T-Mobile’s restrictive business model.

So, though the partnership between the iTunes Wi-Fi Music Store and Starbucks should fill me with joy, I feel sad that Starbucks had to be the target of this deal. It makes a lot of sense and I understand Apple couldn’t have a more appropriate partner in the deal. But I would prefer a move toward broad partnerships across a wide range of people. Who knows, maybe this will spark a movement by online music distribution system (besides iTunes), wireless providers (besides T-Mobile), and cafés (besides Starbucks) to connect music listening and café-going in new ways.

It’s not the whole world that’s consolidating in a few multinational conglomerates.


Meme 7

Bon, ça y est, mon amie et collègue Sydney m’a tagué.

There we go! My friend Syd (a fellow ethnomusicologist), just tagged me. Ah, well…

Donc je dois dire sept choses sur moi.

Le règlement

Chaque personne décrit sept choses à propos d’elle-même. Ceux qui ont été «tagués» doivent écrire sur leurs blogues ces sept choses ainsi que ce règlement. Vous devez «taguer» sept autres personnes et les énumérer sur votre blogue. Vous laissez alors sur les blogues de ceux que vous souhaitez «taguer» un commentaire leur indiquant qu’ils ont été «tagués» et les intimant à lire votre blogue.

The rules

Each person tagged gives 7 random facts about themselves. Those who are tagged need to write on their own blog those 7 facts as well as the rules of the game. You need to tag seven other people and list their names on your blog. Then you leave those you plan on tagging a note in their comments so they know that they have been tagged and to read your blog.

Las reglas

Es como un juego de pilla-pilla. Cada persona a quien tú se lo pegues (a quien tú pilles) tiene que dar 7 datos al azar sobre si mismo. Los a quienes se le pegaron tienen que poner los 7 datos en sus blogs junto con las reglas del juego. Tienes que pegárselo a 7 personas más y poner sus nombres en su blog. Después, dejarás un comentario en los blogs de ellos para que sepan que se lo han pegado y que tienen que leer el blog tuyo.

(Je lis pas l’espagnol et je connais pas le jeu en question, mais c’est le règlement tel que décrit par Sydney…)

Bon, je me lance. Ça sera pas captivant, puisque j’ai peu de secrets. Mais, bon, faut jouer le jeu.

  1. Je souffre de strabisme depuis l’âge d’un an et demi. Beaucoup de gens le savent, surtout parmi mes anciens étudiants (qui n’ont jamais pu savoir qui je pointais dans la classe) mais mon strabisme est suffisamment léger que beaucoup de gens qui me connaissent assez bien ne l’ont jamais remarqué. D’après mon optométriste, je ne vois qu’en deux dimensions. J’ai tendance à le croire. La vie est platte! 😉
  2. Depuis 1997, je fais partie du groupe Dakan de mon ami Madou Diarra. Au sein de ce groupe, j’ai pu faire entre autres la première partie d’un spectacle de Youssou N’Dour au Métropolis de Montréal. J’ai aussi joué dans un groupe de salsa (avec la Sydney en question), divers ensembles à vent, une production de Westside Story, des quatuors de saxophone classique et un ensemble de musique Gospel.
  3. Je n’ai jamais vu le film Titanic et n’ai aucune intention de le voir.
  4. Je me donne parfois des défis sur des choses assez triviales. Par exemple, ne pas boire de café pendant quelques mois, restreindre mon utilisation des pronoms personnels de la première personne du singulier ou cesser toute consommation d’alcool pendant une certaine période. Assez facile et fascinant.
  5. Roy Dupuis est parmi mes cousins. Mes frères sont beaucoup plus proches de lui que je ne l’ai jamais été. Mais, apprenant ma parenté avec la vedette de la série Les filles de Caleb, une étudiante du Cégep Saint-Laurent où j’étudiais la musique m’a déjà dit qu’elle voulait me marier. (C’était en 1990, je crois. J’étais déjà en couple.)
  6. Je suis probablement un gaucher contrarié. Pas que ça explique ma calligraphie illisible, mais c’est un facteur parmi d’autres.
  7. J’ai été scout dans les deux patrouilles originales (renards et panthères) de la 19è de la Vérendrye. (J’avais été louveteau dans la meute Sainte-Odile, à Cartierville.)

Maintenant, qui taguer… La plupart des YulBlogeurs ont été tagués, parfois à plusieurs reprises. Mais je vais essayer quand même, plus ou moins au hasard.

  1. Komtois
  2. Aurora
  3. Tinman
  4. Logan
  5. Mireille
  6. Stéphane
  7. Josh

No Apology Required

Not sure why, but I quite like Omnikrom. Their summer hits  are unapologetically poppy and I like the self-deprecating humour which seeps through the whole thing. These guys seriously don’t take themselves too seriously. All the while posing as superstars, which they could well become.

I should go to the free (as in summer beer) Omnikrom and Numéro# Fouf show on May 9.

Omnikrom and Numéro#

Thanks to André Péloquin’s PodMo for including «Été hit» (which he got from La Swompe).


The Quest for Student Ears

College students take to Ruckus | CNET News.com

(Also talks about other music-related services showed at the Digital Music Forum – East.)

Talked about Ruckus and music discovery on one of my other blogs. Still like part of the system as a way to explore musical diversity (especially if they get more diverse music).
The idea, here, is to hook students-as-music-consumers to a music delivery system. Not even sneaky. But a bit ill-advised, IMHO.


We Do Live in Interesting Times

And I mean that in a positive, optimistic, hopeful, idealistic way.

Been pretty busy recently. Have a bunch of things to read and catch up with. So this’ll just be a series of links. I feel they’re all related, in a way…

Will the GBN jump in now or did it do so already?


Plug a blog

Hey, blog-brothers and sisters!

Feel free to put a plug to your blog, here. Doesn’t even need to rhyme.

Got the idea from YULBlog last night and thought it might be neat. (Besides, it’s a shameless attempt at getting more comments and/or pings.)

Otherwise, if you came for stuff about craft and homebrewed beer, homeroasting and other coffee geekery, or musical diversity, do browse and comment.

I also have two blogs on music. One for a course in the anthropology of music, the other Thinking Globalisation Through Music.

Though it might not seem so obvious, I’m longing for comments… 😉


Plogues de blogues

Aux blogueurs, carnettiers, carnettistes et cornettistes.. Y compris ceux de YULBlog.

Ploguez votre blogue (carnet, billet, journal personnel, fluegelhorn) ici. Même pas besoin de rimes… 😉

Pour ceux qui viennent pour la torréfaction de café, le brassage de la bière, ou la musique, promenez-vous un peu…

J’ai aussi deux blogues dédiés à la musique. Un sur l’anthropologie de la musique (pour un cours à Concordia), l’autre sur la mondialisation pensée à travers la musique (pour un projet plus vaste).


Goût de café: Jacques Attali

Depuis ma lecture de son Bruits, Jacques Attali est entré dans la longue liste des gens avec qui j’aimerais prendre un café.

C’est pas tant que je sois d’accord avec ses idées ou même avec son approche. Il me sert pas non plus de modèle. Mais je trouve certaines de ses analyses très compatibles avec ma propre approche et j’aimerais bien pouvoir discuter avec lui, quelques minutes. D’autant plus qu’il me semble assez facile d’approche.

C’est sans doute trompeur, mais son attitude générale me semble rendre possible des contacts informels, au-delà des statuts. Cette attitude est, d’après moi, trop rare parmi certaines catégories d’intellectuels. Pourtant, la vie de l’esprit n’est pas vraiment une quête du prestige.


Whaddaday!

Started out the usual way, with emails and blogs. But then moved into very diverse and unique activities.

Went to a workshop on the game Guitar Hero, organised by GameCode and Ludiciné. Stimulating conversations on music, games, gender, sandboxes, playfulness, musicking, performance, competition, etc.

Then went on to the Ethnographic Film Festival. Was only able to watch a short excerpt of a short film from the Wapikoni Mobile project and a good part of a movie about food production in Europe (Malthus was wrong! 😉 ). Unfortunately, there were technical problems with the Wapikoni short, but it seemed fascinating. Glad to know there’s a Wapikoni Mobile podcast, but contrary to the Off-Courts podcast, it doesn’t include video content.

Then moved to a coffee jam at Caffè ArtJava. Had an excellent time and tasted some of the best espresso in my life. CAJ is set to participate in the growth of Montreal’s espresso scene.

From CAJ, went directly to Kola Note to pay tribute to Boubacar Diabaté‘s life and influence on Montreal’s (very dynamic, yet IMHO underrated) African music scene. Many of the players in that scene appeared on stage (in different bands) and the general ambiance was that of a strong community. Reminded me of the Francis Bebey tribute at Alizé, a few years ago, but last night’s event was more free-form, organic, cooperative… African. Got a chance to spend some time with fascinating people (like my good friends Guy Langué and David Mobio) who make Montreal’s African music community what it is.

Some seem to disagree on my observations but I feel this community is quite unique in that musicians cross any line to play and feel together. Appropriate tribute to Diabaté who was a «rassembleur» (bringing people together). In fact, Diabaté was the first person with whom I worked for my master’s degree research. Through this work, I eventually met with Madou Diarra who became more than a friend for me.


Vous êtes bienvenus

Un vidéoclip Sarko-phage.

Zêdess Sarkozy Un Hongrois chez les Gaulois


World Intellectual Property Exploitation Organization Ultimately Threatened (WIPEOUT)

I do hope they realize it. The infamous, and famously exploitative, lobby group for “intellectual property” is ultimately going to lose.

Signs of their ultimate demise abound in the actions of both the RIAA and the MPAA (as well as equivalent lobby groups in other North America and Europe). These people just don’t get it.

Been laughing out loud at some comments about the recent debate over the alleged benefits of extending British copyright for performing artists over the fifty years that anyone in their right mind would think is fair. Even some musicians are revealing the lack of breadth in their argument: they just want to be able to live off the money from their recordings from the late 1950s and early 1960s. That would stimulate innovation how, exactly? The fact that it took these people that long to realize that copyrights are meant to be temporary is preciously funny. “Oh, wait! I thought I was supposed to keep my monopoly over these recordings forever.”

Also funny is the stance of Apple Corps. and the remaining Beatles over what should be done with their music. Their first recordings will come out of copyright in the UK (and several other places) in a few years. Instead of taking advantage of the situation by making sure that the last people who by their music get added value, they prevent online music stores from selling their tracks and release a set of anachronistic remixes. Weird.

Been thinking for a while about a type of “two cultures” theory. What Larry Lessig calls “Free Culture” on one side and “Commerical Culture” on the other. The meaning of “culture” used in those cases can be relatively close to anthropological concepts, though it’s also about “creative culture,” including arts and entertainments. In the U.S. of A., Lessig’s primary target, “free culture” seems to be under attack. Elsewhere, it florishes. In any way we think about it, “free culture” is more beneficial for the greater group than a “closed culture,” whether it’s based on commercial value, on jealousy, or both. If we think competitively, there is little doubt in my head that “free culture” will eventually win and that U.S. “commercial culture” (or “permission culture,” as Lessig calls it) will collapse, bringing down a large part of U.S. society.

That is, unless some people finally wake up.