Twitter

March 19, 2009

I signed up for Twitter yesterday. KSCU created an account and sent me a message on Facebook (think about that for a minute) to let me know, so I figured I would sign up too, finally. (You don’t need an account to follow someone on Twitter, but I am always looking for an excuse to do something I don’t want to do that I likely should, especially if it is for my career.)

Twitter works for different reasons than Facebook or the other social networks (Merchant Circle, LinkedIn etc.). I don’t understand why people haven’t figured this out, considering that we love, as a society, to be so judgmental. Twitter works because it places the focus squarely on the tweeter and leaves it there.

Facebook has two or three years left in it. It has a major flaw. When people judge you, they can judge you in person. Every post on Facebook lets others comment right below it, for all to see. This is its strongest selling point and a key reason for its success. (Granted, you used to not be able to comment on everything, but the latest, er, facelift to the site now enables this.) But there is a problem with this: People are ridiculously sensitive, especially on the Internet, the most insensitive place in the world.

Enter Twitter. Twitter lets you say whatever you want, but nobody is ever going to see it, and therefore no one is ever going to judge you. Do you really think people give their opinion because others will care? Of course not. People are merely interested in hearing/reading themselves. It’s no different than taking a dump and admiring your handiwork before flushing it away. “Twitter” does rhyme with “shitter,” after all.

All of this assumes default settings, of course. If I don’t want to hear the status of someone who is a mutual friend at best — you know, the ones you add because your friends add them, and you don’t want to deal with the politics of Facebook friends — I can turn down their posts in my settings so they show up less often, or even not at all. But who does that? The most important aspect of any user interface design is the popularity of the default settings, because 95% of people are going to use them. Homer Simpson was right.

The default settings on Twitter are pretty straightforward. You sign up, decide to add people, which is easy because it can search your e-mail address book, and you’re done.

So now what?

Well, you can either log on to the site to read everyone’s tweets or you can have them sent to your phone. Because of the stereotypes of people tweeting everything they do, I feel as if I could rent my phone to a woman whose sex toy had run out of batteries. I hate the phone. Facebook updates are OK, because I can control that easily. (Again, fear of the unknown is why people don’t want to manually control these things. I got over it for Facebook, but most users will not.)

Having people sign up on your Web site, only to have them never return is why a lot of sites fail. I have no desire to go back to Twitter. I already went there. I’ll come back later, but as Bil Keane pointed out, later may never happen.

Perhaps there is a way to get daily updates of everyone’s tweets in a single e-mail, but I doubt it. I mean, doesn’t that defeat the purpose? The purpose of Twitter is that it is live and in your face. It’s what you’re doing right now. Who cares about what you did yesterday? Case in point: the lousy numbers I get on YouTube. People treat it like it’s yesterday’s news.

However, it’s not all bad news. The path to Twitter’s success does not lead to everyone being engaged in what everyone else is doing. That’s Facebook’s job. And it works, incidentally, on Facebook because you get inspiration to write. Whether it’s 25 things about you or a bucket list, there is always something to write a note about, and then there’s the commenting. Commenting on Facebook makes sense because everyone is looking. “Hey, look at me!” you shout. Facebook is a destination. Twitter is an unlocked diary that no one reads. It lets people write blog posts that can’t be longer than 100-odd characters. Who needs inspiration?

Gary Radnich doesn’t realize it, but he has summed up what no one will admit about the content on Twitter: Nobody cares!

Joel’s Hit Show, Episode 13, 18 March 2009 Playlist

March 18, 2009

Asobi Seksu, Me & Mary
Blake Babies, Temptation Eyes
Black Box Recorder, Child Psychology
Mirah, Generosity
Blonde Redhead, Mother
April March, Try to Cry
Morrissey, When Last I Spoke to Carol
The Apples in Stereo, Signal in the Sky
Aroah, We Can’t Be Friends
Anavan, The Perfect Sound
Astropuppees, Underdog
Azure Ray, How You Remember
March Into Paris, Along for the Ride
Bagheera, Twelves
Bangs, Dirty Knives
Yeah Yeah Yeahs, Zero
Babes in Toyland, Sometimes
Bang! Bang! Eche!, 4 to the Floor
tUnE-yArDs, Sunlight
Adele, Chasing Pavements
A Girl Called Eddy, Tears All Over Town
The Bran Flakes, Stumble Out of Bed
Lily Allen, Smile
All Girl Summer Fun Band, Oh No
Bosque Brown, Train Song
The Aislers Set, Emotional Levy
Dot Allison, Tomorrow Never Comes
Gretchen Phillips, Swimming
The Amps, Tipp City
An April March, We Were Never Attached
Cock and Swan, Remember Sweet
Grey Anne, Adelaide
Laurie Anderson, The End of the World
Shawn Lee feat. Nicole Willis, Jigsaw
Anna Oxygen, Aviva
The Anniversary, Sweet Marie
Handsome Furs, Officer of Hearts
Maya Angelou, Run Joe
Anjulie, Boom
Cotton Jones, Gone the Bells
Ani DiFranco, Hello Birmingham
Wire Daisies, Rocket Girl
Julie Plug, Devoted
Rilo Kiley, Plane Crash in C
Marianne Pillsbury, Layaway Girlfriend
Dance Hall Crashers, Babushska
The Rocking Horse Winner, Miss You

Episode 971 is up

March 18, 2009

Episode 970 is up

March 17, 2009

Episode 969 is up

March 16, 2009

Various Artists “Now Hear This! Independent Music Awards Winners 2009″

March 15, 2009

This two-disc compilation has something for everyone. The first CD has the album category winners. Highlights include “The Next Station Is: Shibuya,” winner of the dance/electronica category. Torpedo Boyz provide that one. It’s a bit lounge-y, so don’t expect to be twirling your glow sticks to this one.

The Cute Lepers won the punk category with “Cool City.” It’s a cool, cute song. I guess it sounds like the Clash, but it is far too upbeat for me to consider it punk. It’s punk that a sorority sister would listen to. I guess if that’s what you want, then bully for you.

Rebecca Martin, winner of folk/singer-songwriter, sings “A Million Miles,” which is not so much folk as it is slow. It’s very mellow and would sound better with a jazz accompaniment.

The Redwalls are the big winner here, although for the record the category they won was “college record label.” This is a legitimate song that you ought to hear. It has it all. “Modern Diet” might be about Japanese Parliament, but I doubt it. It’s still a good song. Don’t overlook blues winner Jeff Healey, either. He always provides a solid effort.

The second CD comprises the song category winners. The Jazz winner is from John Ricci, and “Mode Time” sounds fine to me. Lucy Wainwright Roche brings us the folk/singer-songwriter winner, “Snare Drum.” It’s very good for what it is, and even still listenable on a level playing field.

The pop/rock winner is “Colors” by April Smith. It has hooks, but that’s as far as I’d let it go. The dance/electronica winner is “Say You Love Me” by Velvet Code. It has some Depeche Mode stylings in it, but it is quite harmless. I guess to win awards you don’t want to be too imaginative. The Punk winner was “Defenders of the Faith” by A Kid Hereafter. It’s too bad it didn’t win the contemporary Christian category. Oh well. It’s a fun rock opera that does not apologize for being churchy. Play this for Queen fans when they are drunk. The actual winner of the contemporary Christian category? “More” by Jade Ambroze. It sounds quite secular. Maybe a recount is in order.

“Hold Me in Your Arms” by The Trews was the hard rock/metal winner. It sounds like Lenny Kravitz.

Blue Jungle “Baby Don’t Cry”

March 15, 2009

This isn’t bad. It’s inspired by your good friends at Pretty Girls Make Graves camp. The big difference is that the songs are short. So they’re SHORT, anthemic and plodding. For those that think this type of music isn’t actually building to anything at all, then you’re in luck, because these songs end right away.

We’ve all heard female-fronted garage rock before. This could very easily make you very happy. Some of the tracks are slower, such as “Bombay Sapphire.” It sounds like a Hole reject. The faster stuff definitely works better for them. The guitar on a lot of these tracks even reminds me of Red Aunts, but the pace of the songs is too slow, and the songs are too long. (Red Aunts famously wrote “14 songs 23 minutes” on the back of one of their albums.

“Los Angeles” stands out. It sounds like a Velocity Girl song, and we can never have enough of that. This is one of the best tracks on the album. “I’m a Ninja” is fun, and “Loser” has good backing vocals. It’s a bit of a mixed bag, but I bet they are fantastic live.

Episode 968 is up

March 15, 2009

Episode 967 is up

March 14, 2009

Episode 966 is up

March 13, 2009