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Sunday, April 14, 2002 |
"I just got word that when I renew my driver's license, I will have to submit to allowing the CT DMV to store biometric information, as well as smile for facial recognition software from Viisage to be able to continue driving. I am so appalled, I don't even know where to begin. With all of the national law enforcement agencies opening up their databases to each other, is this the first step in taking a surveillance society to a tracking society?" [Slashdot]
This is scary since you don't have a choice and you don't know where the information will end up. Could we soon see a day when the government implements a law that hooks library circulation records into these databases? I'd like to think it would never get that far, but then I never thought we'd see something like the Patriot Act.
11:59:00 PM Permanent link here
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"The idea that children are masters of technology and can defeat any computer-related difficulty is a myth. Our study found that children are incapable of overcoming many usability problems. Also, poor usability, combined with kids' lack of patience in the face of complexity, resulted in many simply leaving websites. A fourth-grader said, "When I don’t know what to do on a Web page, I just go look for something else...."
Our usability findings for kids often differed from those we typically find when testing adult users. Some of the more striking differences were:
- Animation and sound effects were positive design elements for children; they often created a good first impression that encouraged users to stay with a site.
- Children were willing to "mine-sweep," scrubbing the screen with the mouse either to find clickable areas or simply to enjoy the sound effects that different screen elements played.
- Geographic navigation metaphors worked: Kids liked the pictures of rooms, villages, 3D maps, or other simulated environments that served as an overview and entry point to various site or subsite features.
- Children rarely scrolled pages and mainly interacted with information that was visible above the fold. (We also observed this behavior among adult Web users in 1994, but our more recent studies show that adults now tend to scroll Web pages.)
- Half of our young users were willing to read instructions; indeed, they often preferred to read a paragraph or so of instructions before starting a new game. In contrast, most adult users hate instructions and try to use websites without having to read about what they are supposed to do.
Most of these differences are related to differences in the online activities of children and adults. Diverse design elements and multimedia effects tend to work for children. Unlike adults, who typically use the Web in business settings and for goal-oriented tasks, children often use the Web for entertainment, though older kids also use it for schoolwork and community.
The most notable finding in our study was that children click website advertisements. Unfortunately, they often do so by mistake, thinking ads are just one more site element. In nine years of testing adults, we can count on the fingers of two hands the total number of times they’ve clicked website advertising. But kids click banners. They cannot yet distinguish between content and advertising. On the contrary, to kids, ads are just one more content source. If a banner contains a popular character or something that looks like a cool game, they'll click it. Pokémon, here we come. (Kids clicked on Pokémon characters even though they were simply featured in banner ads for other products, rather than as links to a Pokémon site.)
We strongly recommend that parents, educators, and other caretakers spend time acquainting children with the realities of Internet advertising and teach them how to recognize ads. Many people already help their children understand and cope with television commercials, but such educational efforts seem to overlook Web ads -- possibly because most adults would never dream of clicking them. Adults don't view Web ads as a big issue, because they've trained themselves to tune out the ads subconsciously through banner blindness, which continues to operate even when adults visit children's sites." [UseIt.com Alertbox, via Tomalak's Realm]
We're already fighting information literacy with our kids, ages six and eight, but it's no different than with books, television, or movies. You have to teach them the art of critical thinking, a skill I don't think they're teaching in schools anymore. Or maybe it's just that they're not teaching it at a young enough age.
11:42:54 PM Permanent link here
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"Novell now has a white-on-orange XML button on its Cool Solutions home page." [Scripting News]
Yet another reason I think news aggregators are a killer app. I'd like to see SWAN (my organization's online catalog of holdings at 77 libraries) put up a blog of recent fixes, notices, and tips for the libraries that participate in the catalog. If it had an RSS feed, the posts could appear automatically in the libraries' aggregators, along with information from other SLS service areas, their local newspapers, information from the database vendor (Innovative), and more!
11:30:04 PM Permanent link here
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"The Librarian's Book Club has made their book slections for May - June. The books are 'The Myth of the Paperless Office' and 'Scrolling Forward: Making Sense of Documents in the Digital Age.'
The Librarian's Book Club welcomes anyone to join that is interested in reading books that relate to libraries and the library profession. Information on how to join the book club and more info on the current selections can be found at bibliofuture or Creighton Library" [LISNews.com]
If I was reading regularly or if these titles were available on Audible, I would join this book club in a heartbeat. I may still consider lurking to hear the discussion. Is that so wrong?
11:21:38 PM Permanent link here
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Glenn Fleishman pushes back on my post about price fixing and CD sales:
"You forgot to think about constant dollars here. Inflation was low but not non-existent in the 1990s. I found a constant dollar conversion spreadsheet at this site, and the factor from 1992 to 2001 is 1.3. Thus the average price in the chart of $13.00 in 1992 is $16.90 in 2001. The actual current dollar average price is $14.75 in the chart you cite.
Not that I like the RIAA, but let's calibrate before condemning. The $9.99 CD you cite would cost $13.00 today assuming constant costs."
Glenn makes a good point, although I think the original argument still stands that the price of CDs continues to go up when the technology behind it should be making it go down (at best) or stay constant (at worst). Price fixing didn't help that scenario, and now much of the customer base is alienated and dissatisfied with the product, creating a slowdown in sales. Mix all of this up with the current state of the radio industry that's supposed to be helping sell music, and you've got major problems that dwarf file sharing.
11:09:21 PM Permanent link here
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Cool! Molly over at the h20boro lib blog figured out how create an RSS feed so the site now sports a spiffy, orange RSS box! Subscription to the site is officially open! AFAIK, this makes the Waterboro Public Library the first public library to syndicate its blog (let alone have one)! Congratulations, Molly!
11:00:59 PM Permanent link here
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Fixing Your Site with the Right DocType
"You've done all the right things, but your site doesn’t look or work as it should in the latest browsers.
You’ve written valid XHTML and CSS. You’ve used the W3C standard Document Object Model (DOM) to manipulate dynamic page elements. Yet, in browsers designed to support these very standards, your site is failing. A faulty DOCTYPE is likely to blame.
This little article will provide you with DOCTYPEs that work, and explain the practical, real–world effect of these seemingly abstract tags." [A List Apart]
10:47:05 PM Permanent link here
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Emergent Music is doing a lot of neat things beyond what recommendation engines have offerred up to this point. The latest is a weblog with an RSS feed to which you can subscribe. Why do this? Because then you get new music recommendations right in your news aggregator. Descriptions and comparisons of a particular artist's style is all important in this type of writing.
I'd like to see other media sites expand on this to include book, television, and movie recommendations, too. For example, I'd love recommendations from those librarians I trust, and I'd like Entertainment Weekly's television "What to Watch" highlights each week.
On a side note, has anyone figured out how to dynamically fill in the Radio Googlebox macro with the title of the post? It would be helpful if each artist's recommendation on EM also included a Googlebox of the top ten sites so that you could find out more.
On a further side note, does anyone know if you can make a Googlebox macro into a shortcut? I'd like to have preset Googlebox macros ready to go so that I can throw them into a post without having to remember the macro code. When I paste macro code into the shortcut window though, it disappears. Any ideas? TIA!
8:53:52 PM Permanent link here
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Lit Lite
"While I have your attention, let me tell you what most Americans are not doing: reading books.
According to virtually every survey available, the numbers are dismal. Americans borrow, though don't necessarily read, seven library books annually, the American Library Association reports.
Adults spend 91 hours a year reading books, according to the U.S. Census Bureau, down 10 percent from 1995. They devote more than 17 times as many hours to watching TV. Yes, 17 times.
Almost 60 percent of all Americans read 10 or fewer books a year, according to a 1999 Gallup poll.
There is also the problem with what many Americans are reading: self-help mumbo jumbo written by P.T. Barnums in Teva sandals....
Here's the thing: If you're only going to turn off the TV long enough to spend 91 hours reading 10 books a year, you ought to be a whole lot pickier than this." [Atlanta Journal-Constitution, via Library Stuff]
I agree with Steven when he says that he is a "walking billboard for this statistic." I am, too, although I feel more informed than at any time previously in my life. I think I'm reading more... just not of what "they" are counting. I read more newspapers, more magazines, and more commentary online than I ever have before, and at a much wider breadth and depth. In fact, everything is beginning to run together in my mind because I'm reading so much online.
And what about all of the articles I skim in my news aggregator - how do I count those, even when I don't read the whole article? And what about the MP3 Audible titles I listen to in the car - are they counting those? I wonder when and how we'll start counting the online world in library statistics, the Census, and Gallup polls. When we will realize that "reading" includes new formats, too?
3:47:08 PM Permanent link here
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Who Reads What and Why [The Car Talk Guys, via LISNews]
- The Wall Street Journal is read by the people who run the country.
- The New York Times is read by people who think they run the country.
- The Washington Post is read by people who think they should run the country.
- USA Today is read by people who think they ought to run the country but don't really understand the Washington Post. They do, however, like their smog statistics shown in pie charts.
- The Los Angeles Times is read by people who wouldn't mind running the country, if they could spare the time, and if they didn't have to leave L.A. to do it.
- The Boston Globe is read by people whose parents used to run the country and they did a far superior job of it, thank you very much.
- The New York Daily News is read by people who aren't too sure who's running the country, and don't really care as long as they can get a seat on the train.
- The New York Post is read by people who don't care who's running the country either, as long as they do something really scandalous, preferably while intoxicated.
- The San Francisco Chronicle is read by people who aren't sure there is a country, or that anyone is running it; but whoever it is, they oppose all that they stand for. There are occasional exceptions if the leaders are handicapped minority feministic atheist dwarfs, who also happen to be illegal aliens from ANY country or galaxy as long as they are democrats.
- The Miami Herald is read by people who are running another country, but need the baseball scores.
- The National Enquirer is read by people trapped in line at the grocery store.
11:42:13 AM Permanent link here
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"Blogrolling - Link Manager for Your Weblog. "What the heck is Blogrolling.com? This site provides a free, easy to use service to manage your buddy lists on your blog that works with every major blog tool and website. " If I wasn't already using the similar capability built into 'NIF', I'd definitely put this service to good use. Several ways to display on your blog site and easy editting are enough to earn a look, but you also get a blog tracker pane util that will give you quick access to your favorite blogs. Cool! [...useless miscellany]
This is indeed very cool (especially if I can then easily see and aggregate which sites other librarian bloggers are rolling, but what I really want to see aggregated is which sites they deem important enough to add to their news aggregators. I think it would be an interesting survey. And since you can use this service with a regular web site, too, it would be interesting to get libraries in general in on this and see what pageranks come out of the sites they are constantly referring to for current awareness or answering reference questions.
11:27:49 AM Permanent link here
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Speaking of the lack of diversity on commercial radio stations, don't expect to ever hear the following on the radio, especially if you don't live in New York City. Thanks heavens for the internet!
"Rekha Malhotra is a New Yorker of South Indian heritage who can be given credit for popularizing Bhangra and promoting the UK Punjabi dub and beat sounds in NYC. She says this about an event she hosts regularly: "Basement Bhangra is very urban. It's Bhangra with a hip-hop sensibility. It's raw and percussive, unadulterated. It's got a lot of meat to it and demands that you dance. It's not head-nodding music—it's body-moving music." More. More. More." [MetaFilter]
11:22:31 AM Permanent link here
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We get the Sunday edition of the Chicago Tribune, but I haven't read it in months. Today, though, I fortuitously found the Arts section staring me in the face. Good thing, too, because they ran a series of articles about the current state of radio, so I'm posting excerpts from them below. Overall, it's a good series, although as I note at the end, some insight from the internet and external links would have created a much more complete picture. I'll be quoting liberally from the articles because the CT now requires a login to view them (note that registration is free), and because their archives tend to be available for a week only.
I hope Matt, among others, pushes back on the articles.
11:09:05 AM Permanent link here
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The first article in the series is Rocking Radio's World. It's the lead article in the section and ran above the fold on the front page. All emphasis in the article is mine.
"The soundtrack to the hit Coen Brothers movie "O Brother, Where Art Thou?", with its mixture of vintage bluegrass, country and blues, recently won the most prestigious prize in music -- the Grammy Award for album of the year. It has sold more than 5 million copies, was recently the No. 1 album on the pop charts and has been the top-selling country album for the last half-year.
Yet if one listens to commercial radio stations across the nation, the album might as well not exist.
Though the video for the Soggy Bottom Boys' "Man of Constant Sorrow" was a hit on video channels and a tour promoting the album sold out theaters across the country (and will be playing larger venues this summer), commercial radio programmers have deemed the album too risky to foist on their listeners.
That play-it-safe attitude has turned commercial music radio into a wasteland of inertia, a medium afraid to change or challenge its audience. Once the primary vehicle for exposing consumers to new music, tightly formatted and commercial-saturated radio stations now find themselves losing listeners to the Internet and other media that offer listeners a wider variety of songs and artists. Once consumers hungry for new music tuned in their favorite radio station. Now they are just as likely to download and swap MP3 files on the Internet or tune in one of the thousands of net-streaming or satellite radio music stations, many of them playing a wide variety of songs -- from techno instrumentals to vintage blues ballads -- uninterrupted by commercials.
Since the Telecommunications Act of 1996 deregulated the radio industry, the nation's public airwaves have come under the dominating control of a handful of corporations. These conglomerates -- including Clear Channel, Infinity Broadcasting, Cox, ABC Radio, Entercom and Emmis Communications -- claim that deregulation has been a godsend for listeners, saving them from the idiosyncratic programming whims of independently owned 'Mom and Pop' stations.
'I think that putting stations in the hands of people who are committed to public service and who are top broadcasters is good for the public,' says Randy Michaels, the CEO of Clear Channel, which owns more than 1,200 stations nationwide. 'When we were in the Mom-and-Pop era, half the radio stations were owned by people who were as interested in playing what they liked as opposed to really serving the public. When you have professional management, who is focused on serving the listener, then of necessity we are obsessed with what the public wants, and we work every day to give them what they want.'
But the numbers say they're doing a lousy job of it. Since 1996, Arbitron surveys show that the average time spent listening to radio by consumers 12 and older has dropped 9 percent. In the last two years, listenership has dropped more than 7 percent, Arbitron says. The young especially are tuning out: Teen-age listeners are down 11 percent, and people between the ages of 18 and 24 have declined 10 percent.
'The next generation is not interested at all in radio," says Jerry Del Colliano, a radio veteran who publishes an industry newsletter, Inside Radio, and lectures at the University of Southern California in Los Angeles. 'You have a generation of people who can store music on computer hard drives and have Internet accounts. They don't need radio to find out about music anymore.'
Playlists at stations across the country continue to shrink, with only about 20 songs a week played with any regularity, most from the best-funded major labels. Many commercial stations say they play only records approved by their audience through extensive market-testing, but this practice has led to a numbing sameness of programming, with many of the same records played in the same formats from Miami to Seattle. In one week recently, the 40 biggest modern-rock stations in the country opened a total of 16 slots for new records, and the 45 biggest top-40 stations added a total of 20. That means that even though more than 30,000 CDs are released annually, the vast majority of the songs played at these stations is the same week after week, a pool of a few dozen artists who are also seen extensively on video networks such as MTV and VH1.
The intimate connection between the best-funded major-label artists and corporate-radio airplay is no coincidence. Commercial stations receive $100 million a year in big-label money funneled through independent radio promoters, a legal variation on the old pay-for-play 'payola' that was stamped out in the '80s. 'The airwaves are a public trust, but we have given that up and let one small group of people heist all the country's programming decisions,' charges Miles Copeland III, former manager of the Police and Sting and current chairman of the independent Ark 21 label. And that small group of decision-makers appears increasingly out of step with the public's desires.
'You can't say rock radio is the center of the rock universe anymore,' says rocker Tom Petty, whose acclaimed 1999 album, "Echo," was virtually ignored by rock radio, even though his 2000 tour played to 15,000 people a night and pulled in $14.4 million in revenue. 'A lot of my audience, and the rock audience in general, has given up on radio and moved on to other things, like MP3 downloads. Radio has very little to do with rock anymore, but people still want rock....'
The article then goes on to list some of the recent lawsuits and legislation challenging the radio industry.
But it remains to be seen how effective these initiatives will be in the face of a Republican-dominated House and federal government. The National Association of Broadcasters, which represents the radio industry, and Clear Channel were the 2nd and 10th largest contributors, respectively, out of all media organizations to the Republican Party in the 2000 election. Clear Channel Communications, based in San Antonio, is an $8 billion corporation that owns 1,200 stations, covering 247 of the nation's 250 largest markets, and two years ago acquired the nation's largest concert promoter, SFX Entertainment. The merger of the two operations was hailed by company spokesmen as a triumph of synergy, using Clear Channel stations to promote concerts in Clear Channel concert venues.
The volume of content streamed by Web radio broadcasters has increased 70 percent since January, according to MeasureCast Inc., which monitors online listening habits. According to Nielsen NetRatings.Home, 40 million people were streaming Net stations in the year's first quarter. Jupiter Media Metrix predicts that by 2005, 5 percent of traditional radio advertising -- approximately $1.1 billion -- will have moved onto the Internet.
But even as Internet listening is skyrocketing, the U.S. Copyright Office is preparing a fee structure for Internet stations that threatens the existence of many start-up stations. The Copyright Arbitration Royalty Proceeding has recommended that the U.S. Copyright Office impose a $0.0014 royalty for each listener tuned in on a Web station each time a song is played. Such fees aren't paid by traditional broadcast radio, but apply only to digital transmissions....
In addition, disaffected radio listeners now have the option of tuning in 100 channels of commercial-free music in their cars, broadcast by satellite radio corporations for a monthly subscription fee of $10 to $13....
Clear Channel's Michaels argues that listeners don't want adventuresome music chosen for esoteric tastes; they want hits. 'We all have nostalgia for the way things were, but radio is experiencing the same kind of consolidation that every other business has seen,' Michaels says. 'I love to visit small towns and eat at the Mom and Pop restaurants. But more and more it's getting harder to do, because there are a million choices and the chain restaurants are nudging out the Mom and Pop places. There are people, including me, who think that's bad. But people want to eat at the chain restaurant, for some reason.'
This article is a good overview of the problem, but how many of us online really trust Hilary Rosen (head of the RIAA) when she says "In the next two years we'll see the impact of royalties on these businesses, and if the rates need to be adjusted, we will. The impulse [of Internet radio] is to break the stranglehold of traditional radio and retail on consumers, and that should be allowed to happen." I know she lost my trust a long time ago when she started calling me a pirate and pushing legislation that would take away my fair use rights of the products I was already paying her industry to listen to. I ask again, how can I be a pirate when she and her industry refuse to sell me what I want?
What we're seeing in satellite radio is the shift from listening to public airwaves that no longer interest people to fee-based services that do. This is happening in television, too, as people purchase digital cable packages for a wider variety and then use digital PVRs to find only what they want to watch, rather than just channel-surfing. It's a shift away from the mass-market mentality the media industries still want to force-feed us from the top down, and apparently people are willing to pay for this. (Even with internet radio, you still have to pay for the internet connection.)
These companies need to recognize the value of niche markets because their traditional mass markets are disappearing. It's one of the things that makes libraries so great - we have something for everyone.
11:03:13 AM Permanent link here
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The second article from the Tribune's series is We've Got Personality, At Least for Now.
"If these tidbits from the local scene illustrate anything, it is that the reign of the hometown radio personality seems to be hanging on, despite being rattled by heavy artillery fire from increasingly cost-conscious broadcasting behemoths.
But beneath this patina of resilience are some unmistakable shifts in the landscape -- shifts that will make it increasingly difficult for personalities to hold their ground.
Many radio broadcasters who went on station-buying sprees after ownership caps were lifted in 1996 are saddled with debt, a burden made heavier by the tailing off of advertising revenue as the economy slipped into recession last year.
The pressure has led to cost-cutting tactics, including increased use of syndicated programming and voice-tracking rather than costlier local talent, particularly during non-peak hours. And local talent is finding that station managements are driving harder bargains at contract time.
The shift -- which some critics say can lead to a dulling sameness -- is hitting hardest in small to mid-sized markets, where stations are less able to pay for talent. But it also is eating around the edges in the Chicago market, with its rich heritage of powerhouse personalities such as 'Super Jock' Larry Lujack and legendary talk show host Wally Phillips....
With many of the top stations in town now owned by two or three companies, notably Clear Channel Communications Inc. and Viacom's Infinity Broadcasting Corp., on-air talent has fewer potential employers, and thus, less bargaining power, he said....
'As soon as a talented individual comes under contract, a company can arrange to syndicate that talent's show across many of its own stations,' said Jack Minkow, president of Broadcasting Asset Management Corp., a Chicago-based mergers and acquisitions firm.
Given the technological advances, one disc jockey can easily voice-track shows for six or eight other stations, which allows a big broadcaster such as Clear Channel -- the leader in this practice -- to get by with far fewer deejays.
Typically, a local station will have to pay $4,000 to $10,000 a year to have someone voice-track a show, but that is far less than the $30,000 to $50,000 it would have to pay for midday or evening talent. In smaller markets, especially, the imported talent may be better than the homegrown variety, voice-tracking proponents say.
All this is bad news for radio personalities.
The trends 'destroy the breeding grounds,' Mancow said. 'There are no new guys coming up.'
The nation's roster of radio announcers, numbering 60,000 in 2000, is projected to fall 6 percent by 2010, according to the Bureau of Labor Statistics."
I first noticed how bad things had gotten last month when I drove from Chicago to Peoria and was able to pick up a Clear Channel "KISS FM" station at every point along the way. It was so obviously voice-tracked that I didn't miss any of the banter as I would move from one KISS FM station to another. Internet radio is such an obvious answer to this problem (especially as we move into the always-on, wireless world), but even that is in danger from these media conglomerates that would rather give us one spoon-fed playlist for each type of station in order to promote their own artists.
10:37:19 AM Permanent link here
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Testing, Testing seems to be the only article not on the web site. It's about the methods the radio industry uses to test songs on an audience before adding them to their playlists. Here's an excerpt:
"In the weeks since the multiplatinum-selling 'O Brother; Where Are Thou?' soundtrack dominated the Grammy Awards, fans of old-time bluegrass and hillbilly records have stepped up their criticism of country radio. Why, they want to know, won't stations such as Chicago's US99 play the Soggy Bottom Boys' deep-country 'I Am a Man of Constant Sorrow' among the Faith Hills, Alan Jacksons, and Tim McGraws?
Two words: auditorium testing. Most major radio stations, two or three times a year invite about 200 listeners to a hotel ballroom. The subjects, carefully chosen for their ages and genders, hear 15-second snippets of 500 songs, rating each one on a test sheet. 'I would say it's really influential,' says Mary Shuminas, Q101's music director: 'We don't want to be presumptuous and say we know what listeners like.'
If a song fares amazingly well in the tests, few radio programmers can resist adding it to the playlist. If a song tanks, stations tend to ignore it altogether. Thus, the 1988 Jane's Addiction non-hit 'Jane Says' came roaring back on Q101 and other alt-rock stations after surprisingly strong test numbers. Ricky Martin's 'Livin' La Vida Loca,' so ubiquitous two years ago, disappeared for similar reasons.
But guess which category 'Man of Constant Sorrow' falls into - at least among white 25-to-44-year-old women (whom country stations covet for their product-consumption habits)? 'All through 2001, that song tested at the bottom,' says Chris Ackerman, vice president of Coleman Research, a Raleigh, N.C.-based company that works with Chicago alt-rock fixture Q101, along with other stations of various formats"
This article again illustrates why radio's numbers (and therefore CD sales) continue to decline. 200 people, especially centered on one demographic, is ludicrous. I know this is a time-honored tradition for polling, but surely we can find new ways to sample listener tastes in this day and age. Let's think out of the box a little more here, people.
Interestingly, country radio is going after the white 25-to-44-year old female demographic, while the publishing industry goes after the same but simultaneously derides it (see the whole Oprah-Franzen debacle).
Having read through all of the above articles, I'm struck by how on the money the Tribune articles are, but also how much they still leave out. No solutions are proposed by any of those interviewed, and there's only one specific internet site mentioned (RadioIndiePop.com, which doesn't even get a link!), with no reference at all to the Save Internet Radio site. Obviously the Tribune's staff isn't following blogging, or else they would have highlighted sites like Emergent Music, Radio Paradise, etc. Imagine if the newspaper was working with a blogger or two who were knowledgeable in this area and could provide additional perspectives. Especially online! There isn't even anywhere for me to push back my comments about the article on their site. It would have been a nice marriage of print and web. It's too bad they didn't take advantage of it.
10:25:14 AM Permanent link here
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BTW, I'm sitting outside on the patio on a lounge chair on a lovely spring day blogging this fine morning. This is yet another reason I love wi-fi and advise any and all to implement it at home!
10:04:53 AM Permanent link here
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© Copyright 2004 Jenny Levine.
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