Just My Type

US, UK covers - the UK version is more fun.

My dad taught me to appreciate the distinctions between one font and another. Before I finished high school, I knew about serifs, descenders, x-height, and Bodoni Bold. This was secret knowledge exclusive to graphic artists (and their attentive children).

Then, desktop publishing happened, and suddenly, everybody seemed to know about Baskerville, Times New Roman, Optima and Helvetica.

Fonts became cool. A movie was made about Helvetica.

Now, there’s a surpassingly energetic–and fun!–book about fonts, Just My Type, written by Simon Garfield.

In it, you’ll find the unfortunate story of Comic Sans, and the movement to eradicate its use.

I never thought much about the reasons why we have Helvetica, Ariel, Univers and Futura. And why I started to use Frutiger and Gill Sans in place of other sans serif fonts. Or why I never loved Brush Script or Souvenir. Turns out, each of these fonts is part of a story, either about technology’s progress or shifts in public sensibility or the renovation of a mass transit system (which requires signs of every size, plus maps).

Yes, this book is ridiculously geeky. No, there’s no reason why chapters must be read in order. Yes, there are lots of pictures–and examples that reminded me of our graphic past as defined by Gilligan’s Island, Obama’s first presidential campaign, the London underground, Letraset and Dymo tape, Pet Sounds, Penguin Books, Ikea, and T-Rex.

I wish I had the patience to read every story of every type font, designer and context. And I wish there were dozens of visual examples–more and more visuals to tell this very visual story.

“Absolutely, extraordinarily bad”

That’s how innerfidelity.com editor-in-chief Tyll Hertsens described the sound quality of  Beats by Dr. Dre headphones on the front page of this morning’s NY Times Business section (link below).

Yeah, they’re very heavy on the bass. And they’re best for music where bass drives the musical experience. And sometimes, if you listen loud, there’s distortion. On the other hand, Beats are fashion statement, and people wear them not only to listen, but to be seen listening.

Headphones as pictured (from the company website): $349. That’s a lot of money for a pair of headphones. Industry observers are impressed by the team of Dr. Dre and Monster Cable because they’ve opened a new market where price sensitivity matters less than lifestyle choices.

By comparison, a pair of AKG K240 Professional Studio Headphones cost $199.

If you have a pair of Beats, or manage to try a pair in a store, share your impressions.

http://beatsbydre.com/Default.aspx

http://www.nytimes.com/2011/11/20/business/beats-headphones-expand-dr-dres-business-world.html?partner=yahoofinance

http://www.innerfidelity.com/

Smaller than I thought

Just out of curiosity, I decided to explore the list of top U.S. newspapers by circulation.

Some things that I found interesting:

1. The top newspaper in the USA is not a general interest paper. It’s the Wall Street Journal, with a circulation of about 2 million.

2. The second largest paper is USA Today, and the third is The New York Times.

3. The daily circulation of The New York Times roughly equals the population of Rhode Island–just about 1 million people. On Sundays, the Times circulation equals the number of people in Idaho (1.3 million). And the NY Times is the biggest local paper in the USA.

4. Other big papers in the USA include The Washington Post, The Daily News (NYC), Chicago Tribune, and Chicago Sun-Times. Each is around the half million mark–roughly, the population of  our least-populous state, Wyoming.

Before this end-of-journalism web madness began, daily New York Times circulation was about 1.1 million in 1998. Not much of a change from today’s 1 million. In 1990–years before the internet’s introduction–The Daily News peaked around 2.3 million per day, but by 1990, circulation was down to 1.2 million, and now, it’s about half that amount. Based upon various conflicting, but helpful, sources, I believe newspaper circulation is down by around 1/3 since 1990–but that’s two decades ago, certainly plenty of time to reinvent an industry. In Chicago, that means 1 in 9 households gets a paper (either Sun-Times or Trib) every weekday. I’m curious whether that number was, say, 1 in 5 around 1960, or maybe even 1 in 3 around 1940. I’ll do some research on those details, and get back to you.

Regardless of the specific numbers, the trends are no secret. It’s clear that the music and newspaper industries made their technology decisions late in the game, limiting their options, struggling with their status quo for too long, allowing competitors to dominate. And, it’s pretty clear that the internet is a better way to deliver news than, say, newsboys standing on street corners. I wonder whether we still need print editions. And I wonder just how much energy, and paper, we spend printing, trucking and recycling millions of newspapers every day of the week. And on Sundays.

Bill Evans: Last & Found

Late in the summer of 1980, pianist Bill Evans played several trio sessions at San Francisco’s Keystone Korner. Marc Johnson played bass. Joe LaBarbera played drums. Evans knew he was dying, knew that these would be his last sessions. Fortunately, the sessions were recorded. Two weeks later, he was gone.

Twenty years later, in 2000, Milestone released a box of eight CDs, one for each evening’s performance. For the past week or so, I’ve been listening to the discs. (You can, too: I just checked, and you can buy them on Amazon. The link is below.)

The performances are wonderful. Evans’ work has always been described as lyrical, poetic, introspective, relaxed, and a kin to European salon music.

Everybody Loves Bill Evans is one of his most popular single albums–perhaps a place to begin before buying the more expensive box. In a review from a long-ago book about jazz, I wrote: “Classic 1958 piano jazz, played by a musician so widely respected that Miles Davis, George Shearing, Ahmad Jamal, and Cannonball Adderley signed their written praises for use as the album’s cover art. Most songs are confident variations on jazz standards like Sonny Rollins’s “Oleo” and Cole Porter’s “Night and Day.” Leonard Bernstein’s “Some Other Time” is also a highlight. Bassist Sam Jones and (unrelated) drummer Philly Joe Jones keep things moving. More distinctive are Evans’s unaccompanied solos, particularly “Peace Piece” and “Tenderly,” both haunting because of the pianist’s light touch, tiny flourishes, patience, and willingness to allow the piano to resonate.”

In fact, I rediscovered the Last Sessions box after hearing one of Evans’ duets with Tony Bennett on the radio. When the albums was recorded, Bennett was just beginning to taste a possible comeback, and it was this album that led to his remarkable second-round success. I wrote: “Bennett was in his mid-fifties when he recorded this album in 1975. HIs voice is a tad husky and a bit light on the high notes, but his endless experience shapes and sells every word of every song. This adds meaning and depth to “Some Other Time,” “Waltz for Debby,” and other titles that had been in Evans’s repertoire for almost two decades. Evans’s accompaniment is perfect, and his solos are magnificent, fitting ever so perfectly between Bennett’s verses (“Some Other Time” includes a particularly fine example). Some songs such as “The Touch of Your Lips” and “We’ll Be Together Again,” are generally romantic and often sentimental.” The album was called The Tony Bennett/Bill Evans Album.

There are lots of Evans albums, and most are still available. But the more I listen, the more I favor the Last Sessions box, partly for its intimate club feel, partly because he speaks directly to the audience from time to time, mostly because the work causes me to sit up and listen because it is so clean, so well crafted, and so compelling. Nicely recorded, too.

Moyers to Public TV: Reinvent Yourself!

These are some of my favorite excerpts from an inspiring speech by one of public television’s long-term heroes, Bill Moyers. He delivered the speech in November, 2010 at a gathering of public television programming executives…

“The core problem is that we still don’t have an expansive national vision of what we’re about, where we want to go and what we want to become. Until we are able to say clearly and comprehensively what it is we really want to do, how much it will cost, and how we intend to get there, we can’t blame Congress, the White House or even the foundations for not supporting us more fully.

…There’s a huge vacuum between the [public television] system, nationally and locally, and the big foundations and no one has yet been inspired or capable enough to link the two at the level of a consensus national plan.

There are always people who remain afraid of change or an unknown process, fearful of where it might lead.  But by contrast, the British and Canadians go through periodic charter reviews that invoke a national conversation; there’s a culture of discussion and planning for public media in those nations that help them survive even the worst assaults from detractors or vested interests. This could be a reason that public support for public media in nations like the U.K. exceeds $80 per capita, while we’re still limping along on $1.49 per capita.

…In the meantime, I’m here to tell you that even within the fiscal crisis public television currently faces, we have an opportunity to serve the public — to renew our bond to our communities.

You may not have money for in-depth documentaries or other high-end productions but you have cameras, microphones, studios and the trust of the community. You can be the ombudsman for the public within your reach, provide the venue for forums, teach-ins, town meetings, and debates over the issues that matter to people where they live, telecast in an atmosphere of openness and clarity without the mean and mindless rhetoric or cant that are so triumphant today. Civic engagement is the lifeblood of democracy and the bedrock of its legitimacy. No media can nurture, foster, and empower it the way we can.

…Meanwhile, let me offer just a few other ideas for you to consider:  Take a whole evening of primetime and give it to a forum for the fight in your neighborhoods over charter schools. Do the same for other distressed public institutions — your libraries, for example.

Or how about one week inviting as many social workers as you can get into your studio and asking them to share what they see every day — how people are coping each day with these worst hard times?  Do a series of workshops on Occupy Wall Street, pro and con.  Out there in Iowa, find the lady carrying the placard I saw last weekend on television that read: “I couldn’t afford to buy a politician so I bought this sign.” Bring her into the studio with her local member of Congress — have them talk frankly to each other about their different perceptions of money in politics. Do an evening of primetime on the fight going on right now in your state over redistricting — gerrymandering — the outcome will influence your state’s position and power for the next 10 years. Get folks aware and involved. If you don’t, who will? Certainly not the commercial stations in your market, that’s for sure.

…since David H. Koch of Koch Industries is on the board of both WGBH and WNET, I’d ask him to round up his billionaire buddies — and in a nonpartisan spirit reach out to civic-minded progressive billionaires like George Soros — and together create an independent, fully endowed, self-governing production center (free of any partisan strings or influence) for American drama that would bring our epic history and culture to the screen just like we’ve brought over the Brits’ Downton Abbey, make room for Jefferson’s Monticello! Now, there’s an Upstairs Downstairs story the public would make a pledge to see.

…What we need is a makeover of our own — a rebirth, yes, of vision, imagination, and creativity, but above all a structure and scheme for the 2lst century, one that uses the resources that the digital platform provides to realize the goals of our founders: diversity, public access, civic discourse, experimentation, a welcoming place for independent spirits.

The whole speech–including his idea for public television’s equivalent of a constitutional convention– can be found here:

http://www.current.org/pb/pb1122moyers-remarks.html

Fellini on the bed

The room is almost completely dark. There is a single light source on this night of the October power outtage. It is Fellini’s 8 1/2 on an iPad screen. The images are sharp, contrasty, perfectly photographed in wonderful black-and-white. And, it sounds pretty good, too.

I love my iPad, but the sound is just awful. A dozen manufacturers now sell portable Bluetooth speakers. Some of these speakers are reasonably priced and sound good, too–but most are either over $100 or not worth the cost because they lack clarity, bass, punch, whatever. Forget about the Bluetooth part–it doesn’t work properly, it’s a technology that is far inferior to something much simpler: a $10 cable with one end that plugs into the speakers and the other end into the iPad. That combination is reliable enough to watch Fellini’s 8 1/2 with no interruption, and no Rice Krispies crinkling that is common among Bluetooth devices of all sorts, my little phone earpiece among them.

I’d love to tell you that I have secret source for the best sound at the best price. In fact, I found my speaker by making a friend of a salesperson at a local Best Buy store. As some of the salespeople are wont to do–provided there is no manager nearby–my guy opened several packages and allowed me to listen to several devices.

My favorite–still a favorite several months later, in fact–was the Logitech Wireless USB Speaker, which I use as neither a wireless device nor a USB device.  It costs about $70, and comes with a carrying case. I leave it in my car’s trunk so that anywhere I go, it’s available. I’ve used it to entertain a group of people watching video from a computer screen (the computer’s speakers were crappy), and another group of people attempting to watch a projected image during an office presentation (the projector’s speakers were inadequate). During the summer, when I write on my porch on warm days, the speaker provides the background music. And on a dark and stormy night, it provides a clear, crisp, well-articulated soundtrack with a reasonable amount of bass.

I was less enthusiastic about the more expensive Jawbone Jambox, which costs twice as much and tends toward the boomy approach to bass. When I was shopping earlier this summer, there were few choices. Now, there are more. But I think I’ve found a good one, and I recommend it wholeheartedly.

Google’s Eric Schmidt’s McTaggart Lecture

http://www.guardian.co.uk/media/interactive/2011/aug/26/eric-schmidt-mactaggart-lecture?INTCMP=ILCNETTXT3487

That’s the link to an extraordinary speech by Google executive Eric Schmidt. He paints a clear picture of Google’s convergence plans for/with television.

And/or read the speech’s text here: http://www.guardian.co.uk/media/interactive/2011/aug/26/eric-schmidt-mactaggart-lecture-full-text

Paco de Lucia – One Summer Night…

Paco de Lucia was born Francisco Sánchez Gómez in 1947 in Algeciras, a southern port city in Spain. He learned the guitar from his father, his brother, and family friend Niño de Ricardo, a virtuoso. By age 7, de Lucia was playing flamenco guitar; by 12, he was recording. Before his teen years, he had won several guitar competitions. By 13, de Lucia was touring internationally with José Greco’s flamenco show. He started composing and playing backup for various Spanish singers, notably the great Gypsy singer (or cantador) Camarón de la Isla, with whom de Lucia worked from the late 1960s until the early 1990s. In addition to leading his own group, de Lucia has collaborated on projects with John McLaughlin, Chick Corea, Al di Meola, and even Placido Domingo. De Lucia is widely regarded as the finest living flamenco guitarist—and one of several musicians who has modernized the classic Spanish form.

Here’s the thrilling, no-holds-barred, blazing-guitar, high-energy concert recording that caused many rock fans to pay attention to a flamenco guitar player. Recorded by de Lucía’s Sextet in 1983, it’s terrific ensemble work with de Algeciras, a flutist named Jorge Pardo, and an equally facile percussionist, Rubem Dantas. John McLaughlin composed a pretty intro to “Alta Mar,” and “Chiquito” is dedicated to Chick Corea; listen for strong 1980s jazz/fusion influences in de Lucía’s interplay with electric bassist Carlos Benavent, and the flute and guitar arrangement that begins “Gitanos Andaluces.” But it all comes back to de Lucía’s straight flamenco.

http://www.amazon.com/Live-Summer-Night-Paco-Lucia/dp/B0000046UR

Maria Bethânia – As Cancões Que Você Fez Pra Mim

Maria Bethânia is the sister of top Brazilian singer-songwriter Caetano Veloso. Born in 1946 in the interior region of Bahia, Brazil’s northeastern state, she’d planned to become an actress. In 1963, Bethânia and her brother moved to the nearby state capital city of Salvador, where she impressed audiences singing in a musical (written by her brother). Bethânia has been a professional singer ever since. While in Salvador, she and her brother became friendly with Gilberto Gil and Gal Costa, and the four led a significant cultural movement called Tropicálismo that changed Brazilian music and art. It was so radical that Veloso and Gil were exiled, but Bethânia and Costa kept the movement alive in Brazil. Bethânia is a dramatic singer whose versatility is matched by her desire to experiment with a wide variety of songs and genres, and a willingness to introduce works by up-and-coming songwriters.

This 1993 album was recorded twice. One version was recorded with Portugese lyrics (as above). The other, called Las Canciones Que Hiciste Para Mi (Philips 518-787), is in Spanish. Both are majestic. Each is a collection of 11 songs written by Roberto and Erasmo Carlos and sung with a small combo backed by an enormous string section (magnificently arranged by Graham Preskett). Bethânia’s powerful, dramatic interpretations are affecting on both the Portuguese and Spanish versions, but her passion breathes life into the Portuguese versions of “Fera Ferida,” “Palavras,” and “Eu Preciso de Você.” Analog recording, but sounds better than most digital discs.

Philips 518-214

Available only as an import, but worth the price: http://www.amazon.com/Cancoes-Que-Voce-Fez-Pra/dp/B0000015TF

Power of the Press

http://www.huffingtonpost.com/2011/09/11/911-september-11-newspapers_n_957297.html

Admittedly, I am writing and you are reading on a device that is rapidly destroying print media.

Still, it’s worth the time to browse the ways that today’s remembrance was visually presented on newspaper front pages in US cities and throughout the world. There are so many lessons here: about journalistic priorities, visual communication, heart and soul, and more.

No other medium can do this.