レコメンド・レコ

レコメンドするレコードの雑感

[レコメンド・レコ @recommend_reco]

萩原健太さんほど徹底していないにしても自分もあまり気を使わない。言ってる人は転売ヤーとかじゃなく普通の音楽ファンなんだろうけど、コレクター気質に感化されてるんだろうね。自分が生きてる間、楽しめれば良いんじゃない。家族もそんな興味ないだろうし(笑)

[Kenta Hagiwara @kenta45rpm]

『ラバー・ソウル』4CDの直貼り帯のことなど、レコードの帯についてのコラム書きました。有料記事ですが、今から24時間、10月22日 23:29までは以下のURLから無料で読めます。よろしければ。

レコードの「帯」は捨てる？捨てない？　翻訳装置だった紙切れの変化：朝日新聞 https://t.co/0qviW4jhg9

[レコメンド・レコ @recommend_reco]

数ヶ月後にデラックス盤て

[amass @amass_jp]

ポール・マッカートニー『The Boys of Dungeon Lane』のスペシャルエディションが10月7日にデジタル配信、12月にCD／LP発売。新曲3曲とリンゴ・スターとのデュエット曲「Home To Us」の新ヴァージョンを追加。ジャケも新装　https://t.co/iioc3s1xoQ

[レコメンド・レコ @recommend_reco]

想像していた声明と少し違った

[amass @amass_jp]

ビル・エヴァンスの遺産管理団体は伝記映画『Everybody Digs Bill Evans』について、この作品は自分たちの関与なしに制作されたとする声明を発表。本作はエヴァンスにとって音楽が全く手につかないほど精神的に非常に辛い時期に焦点を当てている　https://t.co/9TIoG7xJbn

[山下達郎-bot / unofficial @tatsurotalkin]

ブライアン・ウィルソンという人は僕にとっては音楽の人でありましてですね。今回(1999年の来日)もなんかインタビューとか対談とか、そういう企画持ち込まれましたけど、みんな断りました。必要がないからです。僕は音楽が聴きたいだけでですね(笑)。会いたいわけじゃないので。

[レコメンド・レコ @recommend_reco]

ラバーソウルと比較してディスクの枚数だけでいくとだいぶ割高って感じたけど、ザッパはCDサイズっぽいしビートルズはでかいブックレット付いてるから仕方ないかなとも思う。まぁブランド料もあるんだろうけど。

[レコメンド・レコ @recommend_reco]

日本盤出るんだ！
フランク・ザッパ / フリーク・アウト！＜60周年記念 5CD＋ブルーレイ・スーパー・デラックス・エディション＞【限定盤】【CD】【SHM- – UNIVERSAL MUSIC STOREl https://t.co/lOfK3909Lh

[Millie Marconi @MillieMarconnni]

A Japanese engineer invented the QR code for one job, tracking car parts on a Toyota line, then his company chose to give the patent away for free, which is the only reason it ended up on every restaurant table on Earth.

His name is Masahiro Hara. The company was Denso Wave, a parts supplier owned by Toyota.

In 1992 the problem landed on his desk, and it was not glamorous. Workers on the factory floor were drowning.

Every car part had a barcode, but a barcode can only hold about twenty characters, so to track one component they had to stick five or ten barcodes on it.

A worker would stand there scanning a single part ten times in a row. Some of them were scanning close to a thousand barcodes a day. The job had stopped being about building cars and turned into pointing a scanner at stickers all day long.

And there was a second problem nobody upstairs cared about. This was a factory. Oil got on everything. A smudge of grease across a barcode and the whole thing became unreadable, and the line stopped.

Hara was asked to make the scanner faster. He looked at it for a while and realized the scanner was not the problem. The barcode itself was the ceiling. A line of black bars can only hold information going one direction, left to right.

He decided to build something that held information in two directions, up and down as well as across, so it could store hundreds of times more in the same little square.

Then came the part that sounds made up but is not.

Hara played Go on his lunch breaks, the old board game with black and white stones sitting on a grid. He was staring at the board one day and it clicked.

The grid of black and white stones was already a way to store information in two directions. That was the shape of his code.

But building the code was the easy half. The hard problem was speed, because the whole point was to be fast, and a scanner wastes most of its time just trying to figure out where the code is and which way it is turned.

The fix came to him on a train. He was looking out the window at buildings, and one building stood out from all the others because of its shape against the sky. That was the idea.

He put three little square targets in three corners of the code. The moment a scanner sees those three squares, it knows instantly where the code is and how it is rotated, even upside down, even at an angle.

Now here is the detail that shows how far he was willing to go. Those three corner squares only work if nothing else on the page looks like them.

If a magazine ad or a cardboard box happened to have the same black and white pattern nearby, the scanner would get confused and grab the wrong thing.

So Hara and his tiny two-person team went and surveyed printed material. Magazines. Flyers. Cardboard boxes. Piles of it, for days, reducing every picture down to its ratio of black to white area, hunting for the one ratio that almost never shows up in print anywhere. They found it. One to one to three to one to one.

That exact rhythm of black and white is baked into every corner square of every QR code on Earth, and it is there because it is the pattern the printed world almost never produces by accident.

Then he solved the oil.

He built the code so it carries a backup of its own information, spread mathematically across the whole square. You can tear off, smudge, or scratch out up to thirty percent of a QR code and it still scans perfectly, because the code rebuilds the missing piece from the copy it kept of itself.

A worker could get grease on a third of the label and the line would keep moving. This is the same math that lets a scratched CD still play and lets a spacecraft send data back across the solar system without asking to repeat itself.

He finished in 1994. He named it Quick Response, after what it does for the person using it, not after what it is.

And then Denso made the decision that actually mattered.

They held the patent. They could have charged a fee on every single scan, and given how many billions happen now, that would have made someone unimaginably rich.

Instead they announced they would not enforce their rights to collect royalties, and they published the specification openly so anyone could use it. Hara later said it was not even a big argument inside the company.

That one choice is the whole story. A code that costs nothing to use is a code everyone builds on. Airlines put it on tickets. Phone makers built readers into cameras.

Then a pandemic hit and the world needed a way to hand someone information without touching anything, and the free little square that a Toyota engineer built for greasy factory workers was suddenly on every menu, every payment, every door.

Hara still works there. He has said, more than once, that he never imagined it would spread this far, and that the part he is proudest of is that it got used to keep people safe.

The man built it to survive oil on a factory floor. It ended up surviving everything else too.

You have scanned his work a hundred times this year. Now you know whose it was.

[レコメンド・レコ @recommend_reco]

カインド・オブ・ブルーの豪華メンバーを中心に軽快なハードバップを演ってる

Paul Chambers 「GO」

[レコメンド・レコ @recommend_reco]

おもいませんか？
うまいもんはうまい
#foreigntongues

[amass @amass_jp]

ミック・ジャガーは「観客との関係」「コンサートで政治的発言を控える姿勢」「年を重ねることの良い面」「長年にわたって自分が担ってきた伝説的なロックスターという役割」について語る。「ライヴにおける俺の仕事は観客を熱狂させること。説教なんてしたくない」　https://t.co/p7Ld5513Tk

[レコメンド・レコ @recommend_reco]

昔の映画にあった。これがイヤで会社辞めたんだよ。

[レコメンド・レコ @recommend_reco]

新しいイヤホンが出るたび一瞬お！と思うが、聴覚補助やiPhoneとの親和性等考えると、しょせん「ながら聴き」だし、一定の音質は担保されてるairpodsproでいいかとなる。なんなら安いし有線のearpodsでも良いかなと思ったけど、流石に音質は違った。

[Blue Note Records @bluenoterecords]

NOW AVAILABLE DIGITALLY: John Hardee "Tenor Sax" https://t.co/6RfJkESq0j

A rarity from the early Blue Note days, this compilation collects three 1946 small group swing sessions featuring the John Hardee Swingtet, John Hardee Sextet & Tiny Grimes Swingtet.

[村上春樹のつぶやきbot @EssentialWord1]

古いレコード集めはあくまで僕の趣味であって、趣味というのは自分でルールを作るゲームみたいなものである。お金さえ出せば何でも揃うというのでは、これは面白くもなんともない。

[Melodies & Masterpieces @SVG__Collection]

Henry Rollins and his record collection

[レコメンド・レコ @recommend_reco]

音楽が衰退していく中で、自分はどうするか――「今、唯一の存在証明はライブ」50周年を迎えた山下達郎が目指す境地（Yahoo!ニュース オリジナル 特集）
#Yahooニュース
https://t.co/38jpYJgtU1

[THE RIVER @the_river_jp]

ジェームズ・キャメロンが『ターミネーター：ニュー・フェイト』を猛烈反省
https://t.co/fMEfzzh1cq

「当時劇場鑑賞した人は、みな死んでいるか、定年退職しているか、廃人になっているか、痴呆症になっている映画の続編を作った。何も新しいことがない、新しい観客への要素が何もなかった」

[佐々木俊尚 @sasakitoshinao]

そもそも評論とは何か、について考えさせられる意外にもたいへん深い内容だった。／笹久保伸、ジャズライターにキレる。音楽家を悩ます評論家のパワハラ問題｜小池直也 https://t.co/cTWCl27Mba

[レコメンド・レコ @recommend_reco]

テクニクスカフェ
四条通を梅田方面て…
西へ行けって事か。

[くん @hot_udon_kun]

デレク＆スーザン、京セラドームで野球観戦しとるやん！