The recording label Deutsche Grammophon, founded in 1898, boldly ventured into the 21<SUP>st</SUP> century on November 28 with a new <A HREF="http://www2.ham.deutschegrammophon.com/home
">online store</A> that eschews digital rights management (DRM) and offers MP3 downloads at 320kbps.
This week marks <I>Stereophile</I>'s 10<SUP>th</SUP> year online.
My office window is almost precisely one Huckleberry wide. You'd be amazed how much of the house has been measured by that metric.
"Happiness is a warm preamp," Bagheera insists.
Adam Sohmer writes: "A fine humanitarian has gone through the effort of aggregating most known Zappa videos residing on YouTube, and there's quite a bit on tap. Check out the professionally shot videos of the Yellow Shark concert and wonder why this performance has yet to see a formal release. Or just sift through the page and cancel the rest of the day's appointments."
Christopher Hitchens, too. Gosh, I love Chris Morris.
"For decades the pursuit of high–-quality sound on high-end systems drove the recording industry, especially the classical music branch."
Maybe the skies won't be filled with airships after all.
In this month's "Letters," Donald Bisbee raises the subject of the government's proposed reduction in funding for the Corporation for Public Broadcasting (CPB), I agree with Mr. Bisbee that commercial radio broadcasting in the US is an intellectual desert. Music is narrowcast, with listeners' tastes bound into predigested categories. There is no depth or analysis to radio news programs, other than discussions by populist commentators who, no matter what you may think of their politics, usurp the ability of their audiences to think for themselves. As a regular listener to NPR and watcher of PBS, I feel that public broadcasting is an essential factor in American public discourse (footnote 1), but not for the reasons some might think.
