Michael Leunig, published in the Age. Click for the full cartoon. Let’s work so this isn’t true.
Josie Wexler teaches fiddle around Sheffield and is highly recommended. She also drew this picture of a dragon for her website. Awesome!
I forgot that every little action of the common day makes or unmakes character, and that therefore what one has done in the secret chamber one has some day to cry aloud on the house-tops
Oscar Wilde, De Profundis, 1949.
It’s now clear that CDs were a massive backwards move for personal music. My CDs are scratched, my CD players have conked out, one by one. I sit surrounded by dead storage media, while my tapes and tape players play as loud and clear as ever.
The popularity of low quality mp3s reveals the myth of fidelity that helped us buy into the CD hype. As with virtual reality, we let ourselves be fooled into believing that the primary thing that matters is high resolution (kbps, frames per second, pixels per inch, 3D, etc). CDs might have some sound quality edge over tape, but in terms of immersion quality is irrelevant. Fluidity of action drives immersion in VR. With music, the relationship we have to the production and consumption is primary; the history of obtaining, retaining, playing and enjoying.
With music, CDs accelerated us along that path that eroded music-as-object. This creates a vacuum in the emotional life of our music collections. The CD gives you shuffle, destroying the order the higher order of sequencing in favour of the individuality of tracks. You can skip in an instant, removing the distance tapes impose via effort of holding the forward key. CDs are fickle towards their digital memories, all too ready to give up to scratching, skipping or fatal “NO DISC” load failures. Frankly, less than 20 years after I bought my first CD, too many of them don’t f****ing work.
The tapes still work. I recognise my handwriting on the track listing, anticipate the start of each track from the end of the one that invariably came before. Certain artists are forever bound in my memory by accident of being taped onto opposite sites of the same tape. My hand knows the weight of a tape. Somewhere in my motor cortex a dedicated network of neurons store the pattern which allows me to stab STOP/EJECT, slip out a C90, spin it around between thumb and index finger, reinsert, slam shut holder and stab play, all within half a second.
Music-as-objects limits our choices. With a tape, if you want to skip more tracks you have to wait longer for the tape to wind forward. If you want to change your selection you need to stand up and find another tape you want to listen to. If you want to make a mix tape, you’ve only got 45 minutes a side, say, within which to do it.
The tape gives freedom through constraint in a way that is a release for anyone who has sat in front of Spotify, mouse over the search bar, thinking “a million million songs at my fingertips and I can’t think of anything I want to listen to”. Once, I could only listen to the music I had on tape (and a radio, without any pause or replay). Now I can spend 10 minutes listening to the first thirty seconds of 20 songs from a selection wider than the sky. It’s like a music diet consisting entirely of crisps.
Sometimes less is more.