This TED talk from 2008 was recommended to me by my piano teacher. If you haven’t already seen it it’s well worth taking a look. If you have seen it, a second look wouldn’t be wasted.
After watching it I realised I had a considerable challenge in front of me – to transform myself from a rigidly centrist two buttock piano player to a more relaxed sometimes left-leaning, sometimes right-leaning one-buttock piano player.
No more singing unless you are as good as this.
Happy new year
There’s a beauty to cover songs. The musician, free from obligation to be new, hip commercial or even original, has simply to play homage to the songs that they love. When some people, not big stars, just talented people with some recording gear and the desire to have a crack on their own, put their own little gems on the internet. I think it’s worth pointing them out.
This, I think, is one of the very best examples. Do you agree or have you found better?
It wasn’t enough that we were all recently exposed to the unbelievably tone-deaf talents of Craig Emerson.
Before that there was former Senator Mary Jo Fisher’s very strange spoken rendition of the Rocky Horror Timewarp number, eerily presaging the instability that eventually segued into serial shoplifting.
Now, God forbid, we have Treasurer Wayne Swan on a Bruce Springsteen kick, although at least he leaves the singing to his daughter who can actually more or less hold a tune.
They played the studio version of this song by Colin Hay on the day that we learned that Greg Ham had died. It was a good choice.
I saw Colin Hay play this song back in 2002 at Woodford. Back then it was just him, a guitar and his gorgeous wife.
Here he is playing it at the Corner Hotel Richmond, with a very tight band, and the same gorgeous wife.
This wasn’t supposed to be the theme of part two (Part One is here) but Jessica Irvine’s recent and timely column on superstardom and One Direction prompted me to add my two cents’ worth – well someone else’s two cents’ worth but at least inserted by me.
First; highlights from Jessica’s column:
US labour market economist Sherwin Rosen in his 1981 paper ”The Economics of Superstars” identified two preconditions that lead to superstardom. First, every customer in the market must want to buy the good supplied by the best producer. The second condition for the birth of a superstar is that the good provided must be able to be distributed cheaply to all customers in the market. You don’t see superstar plumbers, because their services are only available to one geographic area.
Rosen’s theory of superstardom as an efficient outcome of the market was challenged by another US economist, Moshe Adler, who pointed out that whether people preferred one singer over the other was not necessarily determined by how talented they were. There is, after all, no standard unit to measure increments of talent. The key thing about groups like One Direction, according to Adler, is not that they are the most talented – for such a thing can never be measured – but that they are simply the most popular.
According to Adler, consumer desires are not innate preferences – as standard economics assumes – but are influenced strongly by society. We desire the same art, culture and music that is desired by other people.
To which I would only add the graph below which features in Paul Ormerod’s forthcoming book. In a controlled experiment with people listening to music if they were not ‘networked’ which is to say they didn’t know what other people thought was good, there was a fairly big inherent difference between songs. If they were networked, they ‘herded’ strongly.
Of course the upshot of this is that we’re all madly herding from one place to another, but the extent to which there’s signal in the noise of our herding is greatly attenuated. Further; large amounts of rent are being expended trying to get people’s attention with marketing to get into people’s headspace and win the battle for the next hit.