Fazal Majid's low-intensity blog

Cartoons can be the most subversive of genres. The Simpsons has been serving acerbic social commentary from deep within the bowels of the reactionary Fox network for over 10 years, yet they manage to stay fresh when other, more edgy shows like Family Guys struggle for relevance.

One of the main characters in Futurama, Matt Groening’s other animated show, is named Turanga Leela, a transparent reference to Olivier Messiaen’s Turangalîla Symphonie. The number of people who have even heard of this fairly esoteric work is quite limited, and those who actually like it (as opposed to professing admiration for it out of conformity) can probably be counted on the fingers of one hand. Thus we have established that Groening or his staff are intimately familiar with 20th century classical music.

Last week’s episode of The Simpsons featured the US Army showing a recruitment commercial at the Simpson kids’ school. It starts with a rousing martial score. I have extracted a 4MB clip of the scene (Quicktime 7 required) for those who missed it.

The piece in question is from Prokofiev’s Alexander Nevsky cantata. The music was composed for the epnymous anti-german propaganda movie by Eisenstein (although, in a little known consequence of the Molotov-Ribbentrop pact, Stalin made Eisenstein produce Wagner’s Die Walküre for the Bolshoi in atonement for the newly inconvenient Nevsky). The lyrics heard can be translated in English as follows:

Arise, ye Russian people,
to glorious battle, to a battle to the death:
arise, ye free people,
to defend our beloved country!
All honour to the warriors who live,
and eternal glory to those slain!
For our native home, our Russian land,
arise, ye Russian people!

Needless to day, the delicious irony is unlikely to be mere coincidence.

I upgraded to iTunes 7 yesterday. This new version adds a feature opera and classical fans were clamoring for, gapless playback. Often, two or more consecutive tracks must be played without interruption. CD players do that effortlessly, surprisingly few MP3 players can. A pause, however slight in the middle of an aria can be incredibly jarring. Apple took its sweet time, but they eventually delivered (although it is not clear if all older iPod models will support this beyond the 5G video-capable iPod). You have to explicitly flag albums that must be played without gaps by selecting the “gapless album” option.

I still have to get used to the cosmetic changes in the new version. I liked the green musical note icon better than the new blue one. The new style looks a little flat and one-dimensional, just like many Windows XP applications have a flat web page inspired look compared to the beveled buttons and controls of the CUA-based Windows 2000 interface.

iTunes 7 is also markedly different in behavior from previous versions in how it handles albums. To keep the user interface easily understandable for the general public, all tracks are shown as a single flat database, but behind the scenes, iTunes implicitly normalizes this into something that looks like the following relational data model:

iTunes 7 added a few new fields, including “Album Artist”, which seems to be of dubious utility. I described in a previous article my coding conventions to work around the fact iTunes was obviously designed by people with absolutely no clue about classical music. Unfortunately, iTunes 7 does not rectify this situation, but what’s worse, they also changed the key for the album to include both Artist and Album Artist:

I can understand why they did this – if you have several alternative versions of the same work by the same composer, but by different artists, they would be played in intermingled order, which is why I append (2), (3) and so on to multiple interpretations of the same work (by decreasing order of preference).

On the other hand, the new behavior means that if you assigned different artists to tracks in an album (in a classical piece or an opera, you seldom have all the tracks played by the same artists), iTunes mistakenly thinks you have several albums, one for each possible value for artist, and this breaks libraries that worked with previous versions. iTunes 6 and earlier would not care and play them all in the order implied by the Track# field. iTunes 7 will see them as different albums and you will get a nasty surprise when you play the album in shuffle mode, as it will skip to a completely different album halfway through.

Let me illustrate with the album I first encountered the problem with. The last two tracks have Peter Seiffert credited, whereas the first two do not. The list view shows the albums sorted properly, like previous versions of iTunes:

The album view makes it clear what iTunes thinks is happening:

The only work-around this today is to force all tracks in an album to have the same Artist field. I will need to write an AppleScript to identify all tracks that need to be normalized thus, even if this means a loss of information. A further quirk is that the implicit normalization is apparently done at iTunes startup, so you need to restart iTunes for the changes to have an effect.

Update (2006-11-03):

I auto-updated to 7.0.2 today and finally figured out something that has been puzzling me for a couple of weeks now. My copy of Poulenc’s Stabat Mater (Battle/Ozawa/Boston/Tanglewood) would not play as a single album, even though it is displayed as such in the album view. I have “shuffle by album” activated, and it would skip from any track in that specific album to a completely unrelated one. Even if I pinned it down by entering “poulenc stabat” in the search box so no other album could be selected, iTunes would skip from track 1 to a completely random track, instead of moving on to track two.

Apparently iTunes shuffles using a different algorithm than the album grouping. I have another album that has the exact same title “Stabat Mater”, albeit one by Pergolesi, not Poulenc (and four others by Dvořak, Szymanowski and Vivaldi, but the opus or RV number differentiates the album titles). Having two albums with the same title seems to confuse iTunes no end. I don’t want to mangle my album names just to appease iTunes 7, but I found a work-around: just change the mostly useless “Disc Number M out of N” field so the two albums with conflicting titles have different disc numbers, and they will collide no more. Better yet, use the CD number field to uniquely identify each CD in your collection, instead of just within a boxed set. Once again, you need to restart iTunes for this to kick in.

Unpaid computer tech support for relatives is not a popular topic among geeks. It is very much a reality, however, specially in Indian communities with extensive extended families like mine. Some of the griping is churlish considering all the favors your family cheerfully does for you, and we probably have it better than MDs who are constantly bombarded with requests for free medical consultations.

At first sight, I would be better off if my relatives had the good sense to ditch Windows and get a Mac instead, but that would in fact compound the problem because I would get even more calls for help from people who are having a hard time dealing with very basic issues on an unfamiliar platform. Mac OS X may be better integrated and secure than Windows, but contrary to popular opinion it is not that much less crash-prone. All computers are unnecessarily hard to use in the first place. I doubt very much the computer industry will mend its ways and put human-centered design first, more likely than not the problem will be “solved” by the progressive eclipse of generations born before widespread computing, the rest of us having perforce adapted to these flawed tools.

A big part of the problem is doing “blind” support over the phone where you don’t see what is going on, and often the person in front of the screen is not technical enough to know what is significant and how to give you a useful and actionable description of what is on screen.

To its credit, Microsoft added remote assistance functionality in Windows XP. Explaining to users how to activate it is a challenge in itself, however, and in any case you need another Windows XP machine to provide the support. I still run Windows 2000 in the sole PC I have (used exclusively for games nowadays) and it makes such a racket I am almost viscerally reluctant to boot it up.

The best solution is to use virtual network computing (VNC), a free, cross-platform remote control protocol originally invented by the former Olivetti-Oracle-AT&T labs in Cambridge, UK. I often use VNC to take control of my home Mac from my office PC or my MacBook Pro. Indeed, VNC is integral to Apple Remote Desktop, Apple’s official remote management product for large Mac installations. There are even VNC clients available for PalmOS and Windows CE so you could remote control your home computer from a Treo. Having VNC running on the ailing PC would allow me to troubleshoot it efficiently from the comfort of my Mac.

Unfortunately, there is still a chicken-and-egg effect. I once tried to get an uncle to set up UltraVNC on his PC and do a reverse SSH forwarding so I could bypass his firewall. It took the better part of an hour, and barely worked. Surely, there has to be a better solution.

One such solution is Copilot, a service from Fog Creek software that repackages VNC in a form that’s easier to use. It is somewhat expensive, however (although that can be seen as a feature if the people calling for help have to pay for it and thus have an incentive to moderate their requests).

Another one that shows some promise is UltraVNC SC, a simplified version of UltraVNC that is designed for help desks (here is a more friendly walkthrough). Unfortunately, it shows a very clunky dialog that makes sense in a corporate help desk setting, but is too confusing for a novice user, and it uses UltraVNC extensions that are not compatible with most other VNC clients like the one I use most, Chicken of the VNC.

In the end, what I ended up doing was to take the source code for the full-featured UltraVNC server, rip out all the user interface and registry settings from it, and hardcode it to open an outgoing connection to my home server alamut.majid.org on TCP port 5500. There isn’t anything on the server listening on port 5500 by default, but I can open a SSH connection to it from anywhere in the world and use SSH reverse port forwarding to connect port 5500 to wherever I am. This neatly sidesteps the problem of firewalls that block incoming connections.

The resulting executable is larger than SC, but still manageable at 500K (vs. 950K for the full version), and requires no input from the user beyond downloading it and running it, thus triggering all sorts of warnings. It’s not good practice to teach users to download and run executables, but presumably they trust me. After the VNC session is finished, the program simply exits (as evidenced by the disappearance of the UltraVNC eye icon from the toolbar

If you want to use a setup like mine, it’s easy enough for a technically inclined person:

1. You could download my executable at majid.org/help, open it in a hex editor (or even Emacs), search for the string alamut.majid.org and overwrite it with the name of the machine you want to use instead (I left plenty of null bytes as padding just in case). Make sure you are overwriting, not inserting new bytes or shrinking the string, as the executable won’t work correctly otherwise.
2. Or you could download the modified source code I used (UltraVNC is a GPL open-source project, so I am bound by the license to release my mods). Edit the string host in winvnc/winvnc/winvnc.cpp (you can also change the reverse VNC port from its default of 5500 if you want), and recompile using the free (as in beer) Visual C++ 2005 Express Edition and the Platform SDK. My Windows programming skills are close to nil, so if I could do it, you probably can as well.

To use the tool, put it up on a website, and when you get a request for help, SSH into the server. On UNIX (including OS X), you would need to issue the command:

ssh -R5500:127.0.0.1:5500 your.server.name.com

Please note I explicitly use 127.0.0.1 rather than localhost, as the former is always an IPv4 address, but on some systems, localhost could bind to the IPv6 equivalent ::1 instead.

On Windows, you will need to set the reverse port forwarding options in PuTTY (or just replace ssh with plink in the command-line above). After that start your VNC client in listen mode (where the VNC client awaits a connection from the server on port 5500 instead of connecting to the server on port 5900). You can then tell the user to download the executable and run it to establish the connection.

Some caveats:

1. The leg of the connection between the PC and the server it is connecting to is not encrypted
2. Depending on XP firewall settings, Windows may ask the user to authorize the program to open a connection
3. At many companies, running a program like this is grounds for dismissal, so make sure whoever is calling you is asking for help on a machine they are authorized to open to the outside.

I hesitated to make this widely available due to the potential for mischief, but crackers have had similar tools like Back Orifice for a very long time, so I am not exactly enhancing their capabilities. On the other hand, this makes life so much easier it’s worth sharing. Helping family deal with Windows will still be a chore, but hopefully a less excruciating one.

Update (2007-03-23):

You can make a customized download of the executable targeting your machine using the form below. Replace example.com with whatever hostname or IP address you have. If you do not have a static IP address, you will need to use a dynamic DNS service like DynDNS or No-IP to map a host name to your dynamic IP address.

For some time now, titanium has been the material to convey technological edginess. In the hierarchy of credit cards, it apparently trumps silver, gold and even platinum. The metal is used to make fashion statements in products as varied as the original Apple PowerBook, fancy (but dull) knives, high-end watches or cameras like the $20,000 fiftieth anniversary commemorative Leica M7. As an eminently biocompatible material, titanium is also used in implants. I am not entirely immune to the lure of the material, as I recently purchased the iconic titanium spork for travel use.

Titanium has also become the material of choice for extravagant architectural projects, Frank Gehry’s abuse of the stuff in projects like the Guggenheim museum in Bilbao being only the most egregious example. Reportedly Gehry himself tires of the metal, but the tasteless committees that drive much of public architecture worldwide clamor for it, so he is trapped in the style just as surely as less famous architects are trapped in various forms of academism.

That said, there may be a backlash against titanium, and copper may be taking over as the new metal of choice in projects like the new De Young museum in San Francisco. I have also seen it used as a decorative element in a number of new residential buildings in my neighborhood in San Francisco (the picture to the left is from a building on California and Polk). Copper is of course the most beautiful of metals, with a rich hue reminiscent of sunset, and it gets even better with age as it gains its characteristic light green patina.

You read it here first…

I finally completed my CD ripping project and now have lossless copies of all my CDs (and the CD-audio layer of my SACDs) on my Mac.

As I mentioned before, the bulk of the work is tagging the music with correct metadata, locating cover art when the majority of my CD jewel cases and booklets are moldering in a cellar in France. (Amazon is helpful, specially now that it allows users to upload their own scans of cover art). Doug’s AppleScripts for iTunes make short work of normalizing CDDB metadata like correcting the people who stuff the composer name in the title or vice versa.

I wrote my own scripts to tackle these common operations:

1. Strip numbers from titles. That’s the “Track #” field’s job. This script requires the Satimage AppleScript Regex OSAX plug-in to work.
2. Renumber a selection sequentially, so I can split a CD into its constituent parts and renumber them independently from each other or the original CD track order.
3. Strip prefix strings from titles.

This does not mean I am finished, however. About 3/4 of the way through, I realized iTunes is far from perfect at extracting CD audio. For various reasons related to how the Redbook CD audio format was designed without computers in mind, it is very hard to get a perfect, repeatable rip from one attempt to the other. iTunes has an “error-correction” option that seems not to have any effect. For reliable ripping, you have to use specialized programs like EAC on Windows and a cdparanoia-based program like Max on OS X. This complicates the workflow as Max is slightly buggy, and nowhere as good at managing metadata as iTunes is, so the one-step import in iTunes becomes a less streamlined affair:

1. Rip the CD to AIFF in Max
2. Import the AIFF into iTunes
3. Number the tracks (very important!) using my “Renumber tracks” script
4. Convert to Apple lossless
5. Copy the metadata from CDDB using Doug Adams’ Copy info tracks to tracks script.
6. Add album cover art and mention the track was ripped with Max
7. Backup to another hard drive!

The good thing is, now that I have collected the metadata and cover art, I can rerip trouble tracks with clicks or pops, and copy the metadata in one step using Doug’s action, so re-ripping won’t be as much of a hassle as the first time. The next step is to convert everything to FLAC so I have a non-proprietary library that works with SlimServer on my Solaris home server.

If you are not as obsessive about your music metadata as I am, the process will be much easier if you just use whatever CDDB supplies you. In any case, remember, just say No! to DRM-infested lossy-compressed tracks from the iTunes Music Store.