There was great excitement at work yesterday when I updated the University of St Andrews homepage to advertise some exciting news related to economics, which was my chosen subject in a previous guise.
Pop fact: Nobel Prize winner Eric Maskin lives in the same house that has in the past been occupied by two other Nobel laureates, one of whom was Albert Einstein. He has also been known to dress up as Einstein.
When I was a student at the University of Edinburgh a few years ago, I saw him give a lecture on the same subject. I would highly recommend going along if you have an interest in economics, public choice theory or voting systems.
The lecture is open to the public and is taking place next Tuesday, 22 March at 17.15.
If, like me, you have a reputation among your friends for being particularly knowledgeable about politics, you probably find that when election time comes they turn to you for advice on how to vote. But while I may have more interest and knowledge in politics than some of my friends, I am not really the sort of person to tell people how they should vote.
Although I make it known that my sympathies lie with the Liberal Democrats (as the latest addition to the sidebar indicates), I don’t push it far. At the end of the day it’s a personal decision that should not be made for someone else.
As such, my friends possibly did not get as much guidance as they were expecting. But they were probably more surprised that I sometimes suggested that they perhaps shouldn’t vote.
I may well offer that sort of advice no matter what seat I was speaking in, but it is particularly well-suited to my constituency of Kirkcaldy and Cowdenbeath. The incumbent here is Gordon Brown. In the 2005 election, he got 58% of the votes, and you would imagine even in the worst case scenario for Labour it is about as safe as seats get. According to the Voter Power Index, the average voter in Kirkcaldy and Cowdenbeath has “the equivalent of 0.009 votes”.
That is one of the reasons why I am actively involved in the Liberal Democrat campaign in neighbouring Dunfermline and West Fife, where the contest is much closer. I have a much greater chance of affecting the outcome there than by casting my vote here.
The statistic that I love to tell my friends is that you are more likely to be killed on your way to the polling station than you are to cast the deciding vote. Bringing up the idea of abstaining is certainly a good excuse to wheel out my dissertation, and I have recommended to some of my friends that they should read it! For one thing, by reading it you can find out the morbid statistic, find out the meaning of ‘rational irrationality’ and more.
I am still madly proud of my dissertation — partly because I find the subject so fascinating. Why do people vote when it is apparently against their interests to do so? If you happen to fancy a read of it, it’s available to download — although I should warn you that it’s all in economics-speak!
I have previously written about the notion that abstaining might be the good option, contrary to received wisdom. The idea has not always been welcomed!
Warp Records celebrated its twentieth anniversary this year with an extravagant box set, Warp20 (Box Set). Measuring in at 10 inches × 10 inches × 3 inches, it truly is a thing of beauty. Packed in there are five CDs and five 10 inch records, full of Warp goodness old and new.
It was not cheap either, so was only for the most fanatic of Warp followers. Luckily for Warp, there are plenty of fanatical followers — myself included.
Warp20 (Chosen)
Also released separately as a 2CD album on its own, Warp20 (Chosen) is designed to be a collection of the best of the first twenty years of Warp Records.
The first ten tracks, making up disc one, were chosen by voters on the internet. As such, the top ten is sadly predictable. You really could have forecast in advance the inclusion of the likes of ‘Windowlicker’, ‘Roygbiv’ and ‘My Red Hot Car’ in the top three.
The inclusion of most of these tracks was surely never in doubt. Certainly, the top eight are bona fide Warp classics (I am not so sure about Jimmy Edgar’s ‘I Wanna Be Your STD’ or Clark’s ‘Herzog’, but I can understand their inclusion). There is also a noticeable skew towards the late 1990s / early 2000s. Only one track, LFO’s ‘LFO (Leeds Warehouse Mix)’, is from before 1998.
It is clear that the current fans of Warp Records — at least those who voted in the internet poll — are a bit like me. They were not around for the birth of the label, and cling on to the late 1990s IDM explosion as Warp’s classic sound. I think this is Warp’s best period too, but I would have preferred a greater variety in the first disc.
Luckily, the second disc is on hand to provide some of that variety. Label boss and co-founder Steve Beckett chose a further fourteen tracks which make up disc two. While all the usual suspects are again present and correct (giving the likes of Aphex Twin, Boards of Canada and Autechre two appearances on the compilation), other periods and genres are given rightful recognition.
Ultimately, though, while there are a couple of gems here that I didn’t previously own, Warp20 (Chosen) is a bit redundant for me, and no doubt for almost everyone else who bought this box set. If you are such a great fan of Warp that you are going to shell out eighty quid or so, you almost certainly need no such overview to the label.
Perhaps of more value is the fold-out poster of comments posted by the internet users who placed their votes, providing (relatively) qualitative information to accompany the raw top ten.
Warp20 (Recreated)
This is the surprise highlight of the package — a double-disc album of Warp artists covering classic Warp tracks. It shows you how far Warp has come in the past ten years. For its tenth anniversary, Warp released an album of Warp artists remixing classic Warp tracks.
But with a more diverse range of artists on its roster, and plenty of artists with a different set of skills, it seems as though it makes more sense to ask artists to do covers rather than remixes. The results are pleasingly wonderful. Clearly, when you take maverick musical geniuses and ask them to take on the works of other maverick musical geniuses, the results are going to be deliciously skewed and entertaining.
The album opens with Born Ruffians covering Aphex Twin’s classic humorous tracks from the mid-1990s, ‘Milkman’ and ‘To Cure a Weakling Child’. The band’s stripped down approach works surprisingly well. The vocals are shouted out as though from the rooftops, rather than being distorted by electronic effects, adding to the comedy effect.
Another surprise highlight is Maxïmo Park’s take on ‘When’, originally by Vincent Gallo. This is a wonderful piece of dark synth-pop. Hopefully it signals a new direction for Maxïmo Park, whose sound has otherwise become stale.
Meanwhile, Jamie Lidell’s version of Grizzly Bear’s ‘Little Brother’ is just as beautiful and organic as the original. It is another instance of an artist revealing something otherwise unheard in his audio arsenal.
But the real highlight of the album is ‘Phylactery’ by John Callaghan, which is based on Autechre’s ‘Tilapia’. This transforms one of the first signposts of Autechre’s foray into increasingly unique and obscure electronics into a wonderfully wonky pop song.
One instance where a remix may have been a better idea is when Luke Vibert tackled ‘LFO’. The results are actually rather good — undoubtedly a Luke Vibert take on a classic Warp track. But it certainly lacks the punch of the original. This makes it a slightly trudging, though intriguing, listen.
Overall, though, Warp20 (Recreated) is a marvellous document. It reveals sides to Warp artists that hadn’t been revealed before. It’s like peering into the fourth dimension of an already-extraordinary label.
Warp20 (Elemental)
This disc contains an hour-long mix of 65 Warp tracks, created by remix maestro Osymyso. A similar mix, by Buddy Peace and Zilla, was released five years ago along with the WarpVision DVD. Although Osymyso had five years’ worth of extra material to work with, I am less fond of his effort. Nonetheless, the creativity involved in creating such a mix, containing a diverse array of Warp music from the past twenty years, still astounds me.
Warp20 (Unheard)
Moving on to the vinyl in the box set, we have three ten inch records made up of eleven previously (sort of) unheard tracks. Incidentally, these are smartly presented with a minimalist design and debossed text.
The selection kicks off with Boards of Canada’s immersive ‘Seven Forty Seven’. This is not, strictly speaking, unheard. It was originally featured in an interactive Boards of Canada website several years ago. But it is the first time it has been presented as a track itself. It is so good that I can’t work out why it hasn’t been released before.
This is followed up by the equally exciting ‘Oval Moon (IBC mx)’ by Autechre. Named after IBC, the Manchester-based pirate radio station through which Autechre first made their name, this is real old school stuff. Having been produced in 1991, it is almost as old as the Warp label itself! And it’s excellent.
After these two stonkers, the rest of the collection does not quite stand up to the same level. But it is still a good listen. Fair efforts from Clark, Plaid and Flying Lotus are included, along with classic unreleased material from Elektroids and Nightmares on Wax.
Meanwhile, the plodding and uneventful ‘Sixty Forty’, originally from a 2003 Peel Session, is probably the most disappointing Broadcast song I have ever heard. The collection is rounded off with ‘As Link’, a new Seefeel track, whetting appetites for their rumoured comeback.
Warp20 (Infinite)
Musically, the box set is rounded off with a couple of records made up entirely of locked grooves. There are fifty loops in total, plundered from Warp’s back catalogue. It is an interesting experience to experiment with them for a bit, but probably of limited use to anyone who is not a DJ.
Warp20 (1989-2009) — The Complete Catalogue
The final item in the box is a large book that documents the artwork for every release on the Warp label. It is interesting to leaf through and assess how the label progressed over the years, and recall the memories of hearing all of this wonderful music for the first time.
Warp Records is almost as well known for its strong visual identity as for its music. There is some fantastic artwork in the Warp catalogue. While this book is not at all the best way to appreciate the artwork, it does serve as an excellent historical document cataloguing Warp’s classic covers.
I see there has been a frisson of activity over the suggestion that some councils are looking to hold their counts on a Friday rather than the traditional Thursday night / Friday morning when the General Election comes round. The Sunday Times has reported that the BBC believes that up to a quarter of councils are considering making the switch to sociable hours.
Without a doubt, it is fun to stay up all night watching power switch hands from one MP to another, and gradually from one government to another. And there is no denying that the television show has brought us some of the most memorable political moments of recent times. Everyone knows what you mean if you mention “the Portillo moment”.
But is it important? Is it even right? The political class treats a general election like a big sporting event. It is our Superbowl, and David Dimbleby is our John Madden. Coverage of politics is heaving with horse racing and other sporting metaphors. Correct me if I’m wrong, but an election is supposed to be about the serious business of government, not an entertaining night in front of the box.
Adam Smith famously wrote, “People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public.” I do think the cross-party support for election night coverage may be to the detriment to what is good for the public.
It is interesting that three of the biggest stories of the past week or so have been about the entertainment side of politics. There is a big debate just now about whether there should be a presidential-style leaders’ debate in the run-up to the election — Sky News is promising to plonk three chairs on a stage and give anyone who doesn’t turn up the “tub of lard” treament. (Of course, all the smaller parties cry, “Why can’t I be on a fourth chair?”) I’m not sure that anyone genuinely thinks such a debate would be a valuable addition to our political discourse, but it will be entertaining so that’s all right then, huh?
Then there is the controversy over the BBC’s decision to invite Nick Griffin onto an edition of Question Time. Chris Dillow summarisesPaul Sagar’s point that Question Time is “not a platform for debate but merely a zoo in which soundbites are vomited into an audience who clap like hyperactive seals.”
Now there is this controversy; this fear about the future of election night coverage. Don’t get me wrong. I like a bit of political rough and tumble as much as the next person. And I agree that the votes for a general election should be counted as quickly as possible. There are very valid arguments against moving counts to Fridays, as you will see in the articles I have linked to above.
But the focus on the entertainment value of staying up all night is something that I find a tad distasteful. I am particularly surprised to see this point of view being advocated so strongly by any Liberal Democrats.
That party is quite rightly in favour of reforming the voting system. Most electoral reformers agree that single transferable vote (not to be confused with STV) would be the best (or least-worst) system to adopt. That move would almost certainly put the kibosh on any notion that we will find out the result before breakfast time, but it would still be right.
What is important is that we have a result that is fully reflective of the wishes of the people. In comparison to getting the right result, the speed of finding it out or the entertainment of the televisual spectacle pales into insignificance.
I would rather see a complete end to those sporting analogies I referred to earlier — “first past the post” and “two horse race” being among the most important ones to consign to history. I would happily see the television show “general election night” consigned to history too if need be.
So sacrifice your psephological salivating. Yes, election night can be fun and entertaining. But it would be better for democracy if our democratic institutions operated for the good of the voters, not for the good of politico television viewers.
Rupert Murdoch’s decision to experiment with charging for content has ruffled a few feathers. Fair play to Murdoch for being brave enough to put his head above the parapet. If anyone can take the risk, it’s Murdoch — and the rest of the media will have him to thank if the gamble pays off and it reveals the business model that other outlets can follow. Malcolm Coles certainly makes a fairly good case to suggest that Murdoch can get away with it.
Without doubt, monetising content online has been a very tough nut to crack, so much so that many appear almost to have given up. Indeed, the controversy surrounding Murdoch’s decision shows just how much some people now believe that it is impossible to charge for content.
No doubt the advent of the web has changed the game. It is much more difficult to charge for something that doesn’t physically exist, and something which can very easily be distributed for almost zero cost. This more or less means that, if you want to, you can probably get it for free.
I know of one major national newspaper that found that having a paywall was detrimental to their business because they made more money by removing the paywall and instead displaying Google ads to the extra readers. Anyone who has used Google ads will know that we are talking about pretty low amounts here. It is a real demonstration that a simple subscription model will not work for everyone.
But we know that there are plenty of people who are willing to pay for content. As Malcolm Coles points out, there are countless examples of people paying for music, audiobooks and whatever else, when they could have got it for free. That is because, contrary to what many people assume, most humans have a conscience.
For instance, the pay-what-you-like or “honesty box” model actually seems to work. There is the example popularised by Freakonomics about the bagel man. Radiohead seemed to make it work when they released In Rainbows.
Just last week I heard an interview with a taxi driver from Vermont, USA who invites all of his customers to pay what they like. “Nobody has shortchanged me yet,” he says. Even in cases where cash payment was not forthcoming, payment in the form of CDs was.
The problem is, you won’t be able to charge anyone anything if you only serve up a pile of samey crap. Your product needs to be distinctive. The bagel man wouldn’t have done so well if he was trying to sell pens. Radiohead made it work because they are the best band in the world with a loyal fanbase.
But how many media outlets can offer something so attractive? The problem as I see it is not that you cannot monetise any content. The problem is that the content newspapers are producing just now is not the sort of content they can get away with charging for.
Jeff has suggested that there needs to be a sense of duty to buy newspapers, just like there is a sense of duty to vote. But people should only really pay for something that they value, otherwise inefficiencies will result.
If people still value newspapers, they should be willing to pay — and many still are. Most people would feel guilty otherwise, as the honesty box examples suggest. But the problem is that many people just don’t like newspapers any more, as is evident in the comments on Jeff’s post.
It is not as if there is anything wrong with the physical product, despite the jibe about newspapers being “dead trees”. I can imagine a parallel universe where the newspaper was invented after the internet, where the physical paper would be seen as a luxury item. You don’t have to be connected to the internet. You can fold it up and carry it about with you. You can scribble on it if you want to. You can frame it if you love it enough.
But the problem is with the content. With the advent of new technologies, newspapers have become much less useful to consumers. Once, newspapers were almost the only way to find out about the news. Today they are the slowest of many ways to find out the news.
How many times does a major story break late in the day? That story will be all over the breakfast radio and all over the 24 hour news channels. There will be countless reports about it on the internet, and to add insult to injury the bloggers will have had their say too. But if you want to read it in the newspaper, you will have to wait until tomorrow.
Maybe a major story doesn’t break so late very often. But even in these cases, the chances are that you have had ample chance to hear analysis about the front page stories on the radio or the television the night before. In essence, newspapers now do little more than peddle what is literally yesterday’s news.
Like the music industry, the newspaper industry’s mistake was to fail to adapt. They arrogantly assumed that they could carry on with the same template and tinker round the edges, fumbling around for a business model that would work.
Of course, most newspapers have websites these days. But if anything, that has exacerbated the problem. It has led to phenomena like churnalism, with journalists producing more and more content with fewer and fewer resources. As such, much of newspaper websites’ content is watered-down crap. Worse still, much of it is Digg-bait which has been SEOed to death.
That is the crux of the matter. The media is sullied, and journalism as a profession is held in contempt by much of the general public. No wonder people won’t pay for content — it’s not any good, and there is nothing to distinguish it from free alternatives. Why pay to read Telegraph Digg-bait when you can read BBC churnalism for free?
So is there a solution? Keep an eye out for my next article where I will put forward a few suggestions.
Also released separately as a 2CD album on its own, Warp20 (Chosen) is designed to be a collection of the best of the first twenty years of Warp Records.
This is the surprise highlight of the package — a double-disc album of Warp artists covering classic Warp tracks. It shows you how far Warp has come in the past ten years. For its tenth anniversary, Warp released an album of Warp artists remixing classic Warp tracks.
Moving on to the vinyl in the box set, we have three ten inch records made up of eleven previously (sort of) unheard tracks. Incidentally, these are smartly presented with a minimalist design and debossed text.
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