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Home, May 29th

Today, other than the four hours of wage-earning, was spent sawing and drilling and screwing and generally building things out of stuff from the skip-diving session. Actually I went back a few times, tape measure in hand, for more. The red board has been cut down to 36″ x 24″ and mounted on a frame, originally intended to house photos but I quite like it as it is in a Rothko kinda way. After that I did a proof-of-concept for a book idea I’d had based around two piece of wood bolted together with the top one hinged. The wood is slightly larger than A3 and the bolts hold the paper in place. The idea is to have a scrap book where pages can be added over time, except the bolts I’ve got are too short and I’m using the rule of not buying anything for these projects. Working with limitations and all that.

I should post photos really, but it’s late.

Selly Oak, May 29th

Today I bought a nice spiral-bound book of black paper and one of those spray-mount cans and set about putting together a work-in-progress album of my prints. Which was hard as I’m at the stage where all my photos over a week old, let along those from the winter, are shit. Clichéd, novelty bollocks. Clever-clever entertaining wank. Ooh look, there’s an amusing composition, see how I juxtapose this and that. Fuck off, it’s worthless.

This, of course, is a good thing, but still rather frustrating when I also want to present my work and record my progress in some physical archival form. But I managed to find 20 or so from the 300-odd and they do look nice all mounted up on black. I’ll keep adding to it as the prints come in and then, when I eventually reach a point where I’m mildly happy with what I’m doing, I’ll have a good record of how I got there.

A word to the wise though. Spray-mount gets everywhere, even when done facing the window with a fan behind you. Good job I’m an experienced cleaner…

In other news, Zoop and I went skip-diving this evening. You might have seen us outside the UCE campus in Bournville trying to drag interesting pieces of wood out from beneath an inconsiderately placed filing cabinet. I got a wonderful piece of chip-board painted bright red. Not sure what I’ll be using it for but it sure is red!

This excerpt from the MySpace Terms and Conditions has been floating about the place, grabbed in this instance from the Resonance FM blog where they say “once an artist posts up any content (including songs), it then belongs to My Space (AKA Rupert Murdoch) and they can do what they want with it throughout the world without payng the artist.”

By displaying or publishing (”posting”) any Content, messages, text, files, images, photos, video, sounds, profiles, works of authorship, or any other materials (collectively, “Content”) on or through the Services, you hereby grant to MySpace.com, a non-exclusive, fully-paid and royalty-free, worldwide license (with the right to sublicense through unlimited levels of sublicensees) to use, copy, modify, adapt, translate, publicly perform, publicly display, store, reproduce, transmit, and distribute such Content on and through the Services. This license will terminate at the time you remove such Content from the Services. Notwithstanding the foregoing, a back-up or residual copy of the Content posted by you may remain on the MySpace.com servers after you have removed the Content from the Services, and MySpace.com retains the rights to those copies.

I’ve got no desire to be an apologist for Murdoch and wish with all my heart that a better service than MySpace had won the music-social-network game, but I’d really like some clarification on this, specifically the bit I’ve emphasized above.

Doesn’t “on and through the Services” just allow MySpace to turn your uploaded mp3 into a Flash Audio file (modify, adapt, translate) and make it available (publicly perform, publicly display, store, reproduce, transmit, and distribute) throughout MySpace? Isn’t this just the standard disclaimer for such things? Yahoo, which includes Flickr, has the same thing in their T&Cs (about halfway down). Does that mean they “own” my photos, regardless of what copyright or license I’m attached to them?

Of course not. I own my photos, but by utilising Flickr’s service I grant them licence to edit and reproduce my images within the service on search pages, aggregated pages and so on. This is what makes Flickr work. It’s also what makes MySpace work. That any random MySpace user is able to embed a song in their profile without asking permission first is enabled by this piece of clunky legal speak which I’m sure you’d find on any service that allows people to upload their own copyrighted work.

That last bit, “a back-up or residual copy of the Content posted by you may remain on the MySpace.com servers after you have removed the Content from the Services, and MySpace.com retains the rights to those copies” looks more disturbing, but probably isn’t. I assume this means the nature of their backup system is such that when you delete a song it will be some time before it’s completely eradicated from their system, if at all, and so should MySpace continue to stream that song (say on a user’s page that’s running from a backup) after you’ve removed it then they’re still covered.

Again, I’d really like for MySpace to screw up in this way and for everyone to boycott them allowing something better to take it’s place, but I have serious doubts as to whether this is the thing.

These things, while they should be studied deeply, are generally written from the point of view of “how can we not get sued” rather than “how can be screw our customers.” Murdoch doesn’t want your songs - he wants to sell advertising on top of your songs.

But hey, I’m not a lawyer. Can someone get a lawyer to look at this before everyone goes off half-cocked?

Home, May 29th

Rear of Custard Factory, Digbeth, 28th May

Popped into Digbeth today to figure out a vague route for the next Flickrmeet on June 11th and couldn’t resist taking some shots of the graffiti garden behind the Custard Factory. It appears to be a condoned space but given that it’s in a run down car park presumably in the shell of a demolished building it has all the elements necessary for that sort of environment. What I find interesting about graffiti is how it can work with the physical structure of the surfaces creating new shapes and perspectives on it, much as how a photographer changes a view by framing it from a certain angle. Or some shit.

Here’s a selection of my graffiti photos.

On the way back I found myself in the middle of Gay Pride, which was not hard given that Hurst Street, the heart of Birmingham’s gay quarter, doubles up as National Cycle Network Route Five. Last year Pride was kinda quiet on the Sunday but this year it was rammed to the gills. By accident I cycled into the tail end of the parade and found myself stuck on the wrong side of the barriers, which would have been great since I had my camera, except I also had my bike and nowhere to park it. Ah well. Then, since it was a wristband event, I had to blag my way into the rest of Hurst Street using the “I’m just a lost cyclist try to get home” excuse, which was true but a handy tip should you want to get in free next year.

Actually there’s a shitload of stuff going on in Brum this weekend. A music festival in Digbeth, the “fun” fair in Canon Hill Park, some 10 mile sponsored walk, and that was just on my route. Must be summer.

Jewellery Quarter, Birmingham, May 14th

It used to be that the Guardian’s Technology section (previously known as Online) understood the internet while the Media section, by framing it within the bounds of existing paradigms, patently didn’t. A recent article in the former, Making a song and dance, shows the emergence of a new mutant strain of article in that it kinda gets it but ultimately fails miserably.

The basic premise is that when you look in detail at all the bands and artists that have “made it big” on the back of “the MySpace revolution” it’s really all about old fashioned major record label activity and thus is nothing new. Therefore the online revolution in music discovery and promotion is the same old system in new clothes.

Which is correct. If you only look at the artists that have signed deals with the major labels. The rise of the Arctic Monkeys, regardless of their musical abilities, is not at all interesting as it all boils down to word of mouth which has fueled the discovery of new non-manufactured acts since pop music began. Their management seized on this buzz and got them signed and the record company exploited it, which is great for them and those that like their music, but it’s got nothing to do with “the MySpace revolution”.

So, at the risk of banging my head against a brick wall, this is my final say on what MySpace and other online music-related social networking services are all about.

It’s not about MySpace specifically

One day MySpace will be replaced by something better, probably when the next generation of teens emerge onto the online realm. To understand its success you have to understand the appalling state of band websites. Invariably built in Flash they were impossible to navigate, obfuscated all the important information, were never updated and often made you register before you could hear any music. By contrast a MySpace music page has everything you need on one page - band members, influences, biography, tour dates and, most importantly, the actual music. You could cover it in shit and it would still be an improvement, but that doesn’t mean it’s the ultimate way of doing this sort of thing, just the first time the information has been vaguely standardised in a manageable format.

It’s all about the Long Tail

So Madonna has a MySpace page. This isn’t interesting. What’s important is every band you see at every venue in the country also has one and they all exists on a level playing field.

Success is relative

Not every band or artist wants to be famous. At this stage in the game most people are aware of The Problem With Music and while some don’t know or don’t care there are many who are quite happy with a small but significant number of fans who will buy their albums and fill out their gigs. Previously this middle ground was hard to get established in but MySpace has provided a backbone making it all a lot easier to DIY.

It’s how the bands use it

Social networks like MySpace are, by their nature, about social networking. I’m kinda surprised I need to say that but within the old paradigm of broadcast it seems to get forgotten. What’s interesting about MySpace is not what you see when you visit someone’s page but what’s going on behind the scenes. People are talking to each other, sharing information and getting connected. Bands are finding gigs, managers, labels and other like-minded artists through MySpace in a manner that dwarfs he previous methods of doing such things.

There’s a halo effect

Tying in to this are all the other actors on the music scene - the promoters, small labels, badge makers, photographers, bloggers / zinesters, etc. The barriers to setting up your own operation have been lowered significantly by hooking into the relevant MySpace communities as all the contacts and information you need is there - it’s just a matter of doing something with it. The end result is an ecosystem which, while it may not replace the major labels, provides a viable alternative.

The death of bullshit

There are a lot of wankers in the music scene and their currency is cool. When everything you could possibly know came from the NME and Melody Maker it was easy to get away with pretending you knew the cool. Now, with an infinite number of MySpace music pages out there, it’s impossible. You’ve never heard of the bands I like, but I’ve never heard of the bands you like either - shall we share links while we laugh at the hipsters?

Nobody cares what you think

So what happens when you’ve got a large number of overlapping communities of artists forming a vibrant and self-sufficient means to produce and disseminate their works? The traditional means of getting music to fans becomes less and less important. In the past a band might have said “fuck the labels, fuck the journalists” and been left with nothing. Now bands and their fans don’t even notice them. Music journos and A&R men used to hold the keys to the Rock Castle but no-one wants to get in anymore. I don’t care what you think of my favourite band. Who are you anyway?

Most importantly a band on MySpace is not a “MySpace band”. This should be obvious, but then so should this whole post.

Yes, MySpace sucks big hairy balls. Yes, it’s full of the rather annoying variety of teenager. But when it comes to music it’s possibly the only place to go, not because it’s a great service (it patently isn’t in so many ways) but because of what it allows musicians and those who like music to do. Understand this and you understand why “the MySpace revolution” is important, and remember, this is only the first faltering steps. Just wait to something decent comes along.

Northfield, Birmingham, May 26th

I think I’m entering a Black and White Period.

– — –

In music news, the new Mogwai album Mr Beast is a lot of fun. I’m particularly enjoying the pounding second track “Glasgow Mega-Snake”. It comes (or at least Zoop’s copy came) with a DVD showing them recording it in their house, a lo-fi approach I approve of. It’s also quite short at 43 minutes, which was a mild disappointment at first but actually works rather well. Recommended.

Live-wise, I’ve been taking a break from the local scene of late but Capsule have some interesting forthcomings. Big news is Psychic TV on October 6th. I never thought I’d get to see Genesis P Orridge and now I may well do so. Also the lineup has been confirmed (for a while now) for Supersonic Festival - must pick up my ticket this weekend - and the Capsule girls are running a new night at the Bulls Head in Moseley: Larry’s Lonely Knights Club is on Thursday 1st June and promises to be “more a get together” than a club night. Entry is £2 or “free with cake.” Una Corda are guest-DJing the first one, which should be… interesting!

Northfield, Birmingham, May 5th

Just got a batch of prints through from Photobox (who still come recommended) comprising the last month or so of shots uploaded to Flickr. As before there’s a significant difference between the ones I think look great on the screen and the ones that look good on paper. Not a big surprise, maybe, but certainly noteworthy. This one in particular, taken from the top deck of a very clean bus, jumped out as a classic example - it’s nothing special in pixels but comes alive as a print.

As I continue my struggle to improve my photos I’ve had some very useful discussions with Housemate Zoop as he’s on a similar kind of path with his art, trying to move from pieces which are adequate to that ever elusive… something. This evening I found him sifting through the prints and I mentioned how I felt I’d hit some kind of wall, albeit one that’s surmountable if I could just find the right metaphorical angle with which to progress.

With some gentle nudging we came to the conclusion it’s people that are missing. I’m representing a sense of place but it’s unpopulated. So I need to take photos of people.

This, of course, is easier said than done. A building doesn’t mind you staring at it for five minutes looking for the right angle. A person is going to want to know what the hell you think you’re playing at, unless you ask permission before hand which kinda ruins the naturalism. Plus I’m a fucking coward.

But it’s probably something I’m going to have to do. Any tips?

(ATP report to follow sometime over the weekend. Along with the photo delivery the last episode of Lost season 2 kinda ate up the afternoon…)

Camber, Sussex, May 20th

It’s all caught up with me, as well it should, a man of my age. I’m completely wiped out, but unlike other comedowns I’ve had from crazy weekends this one still feels good and very much worth it.

Please excuse the pun.

Camber, Sussex, May 21st

If I hadn’t been wankered I might have gotten the exposure right, though I’d probably have missed the moment.

All my ATP photos are up now and a full report will follow soon, maybe, probably, I think, don’t hold me to it, oh okay then.

Camber, Sussex, May 21st

Just got back from All Tomorrows Parties at Camber Sands for three nights of live music and assorted shenanigans. It was terrific in so many ways. I may list the ways later but for now I present the above photo, taken at five am after 10 hours of gigs and 4 of DJs when crazy fools decided it would be a good idea to go to the beach and carry on.

(I should take photos when very drunk more often…)

Jewellery Quarter, Birmingham, May 14th

All my Flickrmeet photos are finally online, 36 in total.

Spitz, London, Feb 18th

Pitsford St, Jewellery Quarter, Birmingham, May 14th

Frederick Street, Jewellery Quarter, Birmingham, May 14th

A quick look at the thumbnails for my Flickrmeet photos indicated there was a lot of good stuff in there so I’ve been opening them up one at a time. When this one went full screen I nearly fell off my chair.

I realise my idea of good is different from others but, by golly, I’m dead chuffed with this!

Best viewed large, as they say.

Another 10 went into the set tonight and I’m still only about half way through.

– — –

In other news, the interview went well, I think, but I’m not thinking about it too much. I did look fucking sharp though. Quite the surprise.

Mint Cemetery, Jewellery Quarter, Birmingham, May 14th

Flickrmeet occurred today. Twelve people turned up. I’d consider that a success, especially since this was the first one (last year was just a dry-run) and nobody really knew anyone else. We took this route through Birmingham’s Jewellery Quarter over a couple of hours, then spent another couple of hours in the pub. Many photos were taken. Those tagged properly are here - 216 so far. The most interesting thing about these walks is seeing all the different perspectives on the same area. Here’s a few different sets all of the same route. Mine are here, though I’ve only processed 10 out of 28 with another 76 to work through. One of my best hit ratios for a while.

The Jewellery Quarter itself is bloody fascinating, which I knew from being told but for some reason I’d never been there before. Actually, I figured out why on the way - it’s a bitch to get into, being surrounded by a moat of dual carriage-ways and one way streets that keep spitting you in the wrong direction. It also has that Digbeth effect of making perfect sense on a map but being a maze when you’re in it. But once you make it in it’s wonderful, chock full of nooks and crannies that ooze history and the sort of decay that has a majesty to it. And on a Sunday really quiet. Today, while producing some good shots, was really just a scouting trip. I shall return, repeatedly.

The next Birmingham Flickrmeet is on Sunday June 11th, probably in Digbeth. Watch the group for details.

Bournville boating lake, May 5th

So I asked my boss for advice. What should I wear to the interview for the caretaker job? She said as smart as possible, the logic being they’re going to assume I won’t be dressing as smart for the job itself so if I go casual I’ll probably be a scruff-ball in reality. Which, of course, I am.

I have a pair of smart trousers, though I can’t remember why I bought them and I have a tie which I think came from Debenhams in Winchester around 1990. I also have a blazer bought for my by my mum for my first ever job interview though I probably won’t wear that. I don’t, however, have a shirt. Or at least I have shirts, but they’re not the sort of shirts you wear with a tie.

So I had to go clothes shopping.

This scares the shit out of me.

Primark was recommended as somewhere cheap and functional so I went there. As I’m sure you all know it’s shockingly cheap, a temple to slave-labour global capitalism and bugger the consequences. I found the shirts but they had these numbers all over them which were supposed to relate to the dimensions of my torso, except I don’t know the dimensions of my torso. I’m a medium, usually. I asked for a tape measure but they didn’t have one. I guess when you’re selling stuff that cheaply people just throw it away if it doesn’t fit. So I went to see Andy at work, who buys shirts more than once a decade, and he told me I was probably a 15-16″ neck and a 36-40″ chest, which I diligently wrote down.

The shirt, in a delicate pale cream, cost £4. I then noticed socks at £2 for 5, so I got some of them. And then I queued for ages, despite it being 9.30am, as people piled huge mountains of stitched material on the counters.

I left in a bit of a quandry. I don’t buy a lot of clothes (save a minor t-shirt habit) mainly due to the cost (plus the horror of actually purchasing them), but here are clothes at prices I deem reasonable, except morally it’s all so very wrong. But then pretty much anything I buy that’s manufactured abroad is going to have moral implications, from a cake of CD-Rs to cheapo bin liners (not to mention my tobacco) but clothes have a higher profile in the ethical wars, so I’m being somewhat hypocritical to get all high-horse about my £4 shirt while saving up (still) for an iPod.

Probably just best to be aware but not get all tied up in knots about it, for that way leads to madness and a tendency to be an annoyingly sanctimonious wanker.