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It's pretty different; I get to make the music that's in my head rather than trying to find out what music is in other people's heads. I don't have to deal very much with other egos or anything; no explaining and going incircles - I just get to play instruments and get on with it. It's also much harder, because I have to sing, which is kind of painful and humiliating for me.

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No no no. I always give 100% to remixes and production work. I don't believe in holding things back; I despise that. I know a lot of people do it - I hear them say it, "oh I don't want to use that on this! I'm saving it for my own track," which I think is disgusting, but normal. I think you should empty yourself everytime you bother to make music, you know? Just make less music if you're afraid you don't have enough ideas.

What was natty? Our band? Reading? What the hell is natty, anyway? What is it with you English and your endless stream of ridiculous slang terms? If you thought the band was "natty" and "natty" means something negative, then fuck you. You can expect it to get way worse. We will shit horrible songs all over the stage, we'll fall asleep mid-set, we'll forget to plugin our instruments, we'll mime along to pre-recorded ringtone versions of all our songs. If "natty" somehow means something positive, then god (sic) has a special plan for you. You can expect it to get way better, we will spread hateful rainbows all over the stage, we will implode with energy mid-set, we'll forget to breathe, we will rewrite everything based on the thought in your head while you watch us in realtime.

But really, I hated fucking Reading. I thought we sucked. or was that Leeds? All I remember is that after one of those mud-pit, cattle herd shows, I went out, punched a production trailer and wouldn't look at anyone in the band, which is about as mature as holding my breath if we don't get champagne in our dressing room. Which I do regularly. It was the first of the two; whichever that was. We played both.

You do that there don't you? I mean, you had that classy "cool britannia" thing in the 90s, didn't you? It was something like Oasis went to Africa to speak on the AIDS crisis with one of the prices or something. In general, everything is shit because everyone is small-minded and unambitious, everyone is full of ego and poses and no one came to play. Everyone's too busy whispering in each others' ears about who they do and do not want sitting with them at lunch to have time to get up and use it. New york is boring right now. it will get interesting in 2007-2008. It's so easy to predict that I feel self-conscious saying it... I feel like a fucking charlatan (uk). That said, I like Adam Green for some reason.

I'd love to hear what you all have to say about the music in UO. I've always have been the type to keep game music on, because it's important to me to be immersed in the world that I'm playing in. What are you favorites?

However, brand owners and advertisers are now extending these signature tunes and jingles to multiple mediums. As Ashish Chakravarty of Contract points out, if music used in commercials is given a life outside it, then it opens a whole new avenue to interact with.

The exact origins of the tune are disputed but generally date to the early 17th century. It appears in John Playford's 1728 collection of dance tunes as "The New Bath", while Victorian musicologist William Chappell also suggested links to a 1622 work called "Sir Edward Nowell's Delight". The debate is best summarised by the composer Ernest Walker in 1907 who described the melody as "three centuries' evolution of an Elizabethan tune".[2]

The figure who most especially stood out as the completest musician and the performer with the most exquisite tone and taste, was, few would disagree, Dirty Fisher Dishcloth, as we dubbed Dietrich Fischer Dieskau. Poor Birgit Nilsson was Beergut Nelly, of course, and the greatest soprano of them, all, IMHO, Kirsten Flagstadt, was Kirsty Flatshag or Kristy FatSlag. How childish we were: the crudity of these names was in inverse proportion, let me assure you, to the matchless mixture of steel and radiance that marks out the great Wagnerian singer.

Classical music is, functionally at least, beyond fashion and outside time, (though of course it can be studied in quite the reverse way). To engage you need know nothing, only to be able to sit and listen. To make the journey and visit the places the music takes you.

I just wanted to celebrate and bid auf Wiederhren to the life of one of the paragons of our age, truly one of the most supremely gifted vocalists and discriminating and insightful musicians. It was the lieder form that he so magisterially exhumed and polished and perfected before our ears, Schubert principally of course, but Wolf and Schoek too, lesser known names but now regularly performed thanks to him.

A legendary moment in modern geekery was the day in 2001 when Apple's chief engineer Jon Rubinstein went to Toshiba's HQ in Japan for a routine visit. Earlier in the year Steve Jobs had demanded a small music player of him and Rubinstein had replied that the components for such a thing didn't exist. At the Tokyo HQ Rubinstein was shown a 1.8 inch hard drive that Toshiba engineers had developed but which they couldn't see a use for. They had know idea it was exactly what Rubinstein had been missing. As it happens Steve Jobs was in Tokyo for a different reason the same day. At dinner that evening Rubinstein said to him, ""I know how to do it now. All I need is a ten million dollar cheque." Jobs coughed up and the rest is history. And the rest of the Apple's competitors were history, so far as music players were concerned.

The question I would ask if I worked, especially for Sony, is why the hell didn't we make the iPod? Sony were not only in the same country as Toshiba but they were, unlike Apple, in the music business. Sony Music and Sony Pictures, Sony Walkman, Sony industry standard video cameras and recording equipment. Sony computers. Talk about a perfect fit. Talk about missing the bus. Talk about being outmanoeuvred. Just as he was to do in the world of tele-communications six years later, Steve Jobs took Apple from a standing start into the position of the most important music company in the world. From right under the noses of Sony.

The duty of Athenian citizens to play a part in justice through the tribunals on the Areopagus Hill was taken seriously, as was democracy in the form of regular voting: there was even an agreed assumption that theatre as a total art form that combined mask, dance, poetry, drama, history, music and religious ceremony was an essential element of public life and formed part of an open analysis of Athenian identity. As Nietzsche pointed out in his supreme The Birth of Tragedy, the Greek people had gone from tribal blood feuds, war and savagery to a peak of civilisation in a very short time indeed. Nietzsche chose the Greek gods Apollo and Dionysus as representatives of the two sides of the Greek (and of course all human) character. One part harmonious, reasonable, artistic, musical, mathematical and idealistic, the other consumed by appetite, lusts and loss of reason through desire, greed and ambition. Whether we call these Freud's ego and id or Forster's prose and the passion, which we must "only connect", no civilisation I can think of seems so clearly to display through its art, rhetoric, philosophy and politics just what it is to be a human, a social and collective being, what Aristotle himself called in a phrase almost worn away by universal use, "a political animal".

Not everyone likes the new Acropolis museum it must be admitted: apparently its construction flattened the musician Vangelis's charming house and the reinstalled friezes would, say some scholars, be hardly more 'authentic' in their new home than they are in Bloomsbury. But the stone quarried from Mount Pentelikon, the dazzling white pentelic marble from which the Parthenon is made, is for Greece what the marble of Carrara was for Michelangelo and it belongs in its homeland, it expresses it. There really is such a characteristic as terroir. Which is why something as disgusting as retsina tastes so delicious on a beach in Patmos and so horrific in a warm kitchen in Wincanton.

The two HTC phones I've been playing with reveal the startling turn around rate that goes on in Taiwan, where HTC are based. They seem to bring out new Android and Windows phones four times a year. It is getting very hard to tell which kind of Desire or Sensation you have and what the difference between them is. The Sensation XL With Beats, is as big a phone as I've seen in a long while. For all its size, the 4.7" LCD screen doesn't excite with colour richness in quite the way that the AMOLED displays of many rivals do, I'm thinking of the Samsung Galaxy for example. There's an 8 megapixel camera, all the HTC Sense scenes and widgets and pages full of the useful free bundled software that Android users have come to expect. There's a video store called Watch which has a reasonable selection of films for downloading and, most importantly of all, there are the Beats that give the device its strange name. You will probably be aware of Dr Dre and his Beats earphones; well, a pair of these come with the Sensation XL and baked in is his personally tweaked "Beats Audio Technology". I have absolutely no interest in such things to be honest. The sound appeared to be excellent, but maybe it suits someone with a different kind of music collection. I don't suppose the hip-hop legend had Wagner and Glenn Gould in mind when tweaking the audio for HTC. With a single core 1.5GHz and 768MB or RAM such a large phone seems significantly underpowered. And when the next flavour of Android comes out (mine is running Gingerbread 2.3.5) it will be a question as to whether this behemoth will be up to the task of coping with whatever demands Honeycomb and Icecream Sandwich make of it (in case you wonder what I'm drivelling about, Android name each full new release after a cake, ice-cream or pudding. We started with Cupcake, Donut and clair who knows where we'll go after Honeycomb). e24fc04721