Jeremy Keith

Jeremy Keith

Making websites. Writing books. Hosting a podcast. Speaking at events. Living in Brighton. Working at Clearleft. Playing music. Taking photos. Answering email.

Journal 2834 sparkline Links 9339 sparkline Articles 80 sparkline Notes 6180 sparkline

Monday, December 6th, 2021

Sunday, December 5th, 2021

Getting back

The three-part almost nine-hour long documentary Get Back is quite fascinating.

First of all, the fact that all this footage exists is remarkable. It’s as if Disney had announced that they’d found the footage for a film shot between Star Wars and The Empire Strikes Back.

Still, does this treasure trove really warrant the daunting length of this new Beatles documentary? As Terence puts it:

There are two problems with this Peter Jackson documentary. The first is that it is far too long - are casual fans really going to sit through 9 hours of a band bickering? The second problem is that it is far too short! Beatles obsessives (like me) could happily drink in a hundred hours of this stuff.

In some ways, watching Get Back is liking watching one of those Andy Warhol art projects where he just pointed a camera at someone for 24 hours. It’s simultaneously boring and yet oddly mesmerising.

What struck myself and Jessica watching Get Back was how much it was like our experience of playing with Salter Cane. I’m not saying Salter Cane are like The Beatles. I’m saying that The Beatles are like Salter Cane and every other band on the planet when it comes to how the sausage gets made. The same kind of highs. The same kind of lows. And above all, the same kind of tedium. Spending hours and hours in a practice room or a recording studio is simultaneously exciting and dull. This documentary captures that perfectly.

I suppose Peter Jackson could’ve made a three-part fly-on-the-wall documentary series about any band and I would’ve found it equally interesting. But this is The Beatles and that means there’s a whole mythology that comes along for the ride. So, yes, it’s like watching paint dry, but on the other hand, it’s paint painted by The Beatles.

What I liked about Get Back is that it demystified the band. The revelation for me was really understanding that this was just four lads from Liverpool making music together. And I know I shouldn’t be surprised by that—the Beatles themselves spent years insisting they were just four lads from Liverpool making music together, but, y’know …it’s The Beatles!

There’s a scene in the Danny Boyle film Yesterday where the main character plays Let It Be for the first time in a world where The Beatles have never existed. It’s one of the few funny parts of the film. It’s funny because to everyone else it’s just some new song but we, the audience, know that it’s not just some new song…

Christ, this is Let It Be! You’re the first people on Earth to hear this song! This is like watching Da Vinci paint the Mona Lisa right in front of your bloody eyes!

But truth is even more amusing than fiction. In the first episode of Get Back, we get to see when Paul starts noodling on the piano playing Let It Be for the first time. It’s a momentous occasion and the reaction from everyone around him is …complete indifference. People are chatting, discussing a set design that will never get built, and generally ignoring the nascent song being played. I laughed out loud.

There’s another moment when George brings in the song he wrote the night before, I Me Mine. He plays it while John and Yoko waltz around. It’s in 3/4 time and it’s minor key. I turned to Jessica and said “That’s the most Salter Cane sounding one.” Then, I swear at that moment, after George has stopped playing that song, he plays a brief little riff on the guitar that sounded exactly like a Salter Cane song we’re working on right now. Myself and Jessica turned to each other and said, “What was that‽”

Funnily enough, when we told this to Chris, the singer in Salter Cane, he mentioned how that was the scene that had stood out to him as well, but not for that riff (he hadn’t noticed the similarity). For him, it was about how George had brought just a scrap of a song. Chris realised it was the kind of scrap that he would come up with, but then discard, thinking there’s not enough there. So maybe there’s a lesson here about sharing those scraps.

Watching Get Back, I was trying to figure out if it was so fascinating to me and Jessica (and Chris) because we’re in a band. Would it resonate with other people?

The answer, it turns out, is yes, very much so. Everyone’s been sharing that clip of Paul coming up with the beginnings of the song Get Back. The general reaction is one of breathless wonder. But as Chris said, “How did you think songs happened?” His reaction was more like “yup, accurate.”

Inevitably, there are people mining the documentary for lessons in creativity, design, and leadership. There are already Medium think-pieces and newsletters analysing the processes on display. I guarantee you that there will be multiple conference talks at UX events over the next few years that will include footage from Get Back.

I understand how you could watch this documentary and take away the lesson that these were musical geniuses forging remarkable works of cultural importance. But that’s not what I took from it. I came away from it thinking they’re just a band who wrote and recorded some songs. Weirdly, that made me appreciate The Beatles even more. And it made me appreciate all the other bands and all the other songs out there.

Saturday, December 4th, 2021

Jacques Corby-Tuech - Marketers are Addicted to Bad Data

We’ve got click rates, impressions, conversion rates, open rates, ROAS, pageviews, bounces rates, ROI, CPM, CPC, impression share, average position, sessions, channels, landing pages, KPI after never ending KPI.

That’d be fine if all this shit meant something and we knew how to interpret it. But it doesn’t and we don’t.

The reality is much simpler, and therefore much more complex. Most of us don’t understand how data is collected, how these mechanisms work and most importantly where and how they don’t work.

Making Colophon Cards – Baldur Bjarnason

I think Baldur is onto something here with his categorisation of software. There’s the software based on innovation, something truly novel:

Innovation’s the word. Pushing the boundaries. You know the phrases. Usually spouted by that dude at the party.

Then there’s the software based on itertion, making a better version of a proven tool:

We are now in a place where we have entire genres of software that have decades of history, are backed by stacks of new and old research, have dozens of successful, well-made exemplar apps, and a broad enough conceptual space to allow for new variations on the theme.

In short, we have genre software and we have avant-garde software, and I’ve always been more interested in genre fiction than literary fiction.

Thursday, December 2nd, 2021

Wednesday, December 1st, 2021

Checked in at Jolly Brewer. Session night — with Jessica map

Checked in at Jolly Brewer. Session night — with Jessica

Best laid plans by Amy Hupe, content designer.

All of Amy’s writing recently has been absolutely wonderful, some of the best I’ve read in a long while, but I particularly needed this one.

I don’t know where we go from here, with this latest pandemic setback, but I do know that things will keep moving.

And if you feel bad today, feel bad. Feel sad or angry or scared or whatever it is you need to feel. Give yourself to yourself as you are.

Things will keep changing. Life will keep unfolding. We will keep going.

Webrise

Prompted by my talk, The State Of The Web, Brian zooms out to get some perspective on how browser power is consolidated.

The web is made of clients and servers. There’s a huge amount of diversity in the server space but there’s very little diversity when it comes to clients because making a browser has become so complex and expensive.

But Brian hopes that this complexity and expense could be distributed amongst a large amount of smaller players.

10 companies agreeing to invest $10k apiece to advance and maintain some area of shared interest is every bit as useful as 1 agreeing to invest $100k generally. In fact, maybe it’s more representative.

We believe that there is a very long tail of increasingly smaller companies who could do something, if only they coordinated to fund it together. The further we stretch this out, the more sources we enable, the more its potential adds up.

Tuesday, November 30th, 2021

Monday, November 29th, 2021

Google, Facebook hiding behind skirts of small business

While the dream of “personalized” ads has turned out to be mostly a nightmare, adtech has built some of the wealthiest companies in the world based on tracking us. It’s no surprise to me that as Members of the European Parliament contemplate tackling these many harms, Big Tech is throwing millions of Euros behind a “necessary evil” PR defense for its business model.

But tracking is an unnecessary evil.

Yes! This!

Even in today’s tracking-obsessed digital ecosystem it’s perfectly possible to target ads successfully without placing people under surveillance. In fact right now, some of the most effective and highly valued online advertising is contextual — based on search terms, other non-tracking based data, and the context of websites rather than intrusive, dangerous surveillance.

Let’s be clear. Advertising is essential for small and medium size businesses, but tracking is not.

Rather than creating advertising that is more relevant, more timely and more likable we are creating advertising that is more annoying, more disliked, and more avoided.

I promise you, the minute tracking is outlawed, Facebook, Google and the rest of the adtech giants will claim that their new targeting mechanisms (whatever they turn out to be) are superior to tracking.

UK ICO: surveillance advertising is dead

Behavioral ads are only more profitable than context ads if all the costs of surveillance – the emotional burden of being watched; the risk of breach, identity-theft and fraud; the potential for government seizure of surveillance data – is pushed onto internet users. If companies have to bear those costs, behavioral ads are a total failure, because no one in the history of the human race would actually grant consent to all the things that gets done with our data.

Sunday, November 28th, 2021

Modern CSS in a Nutshell - Cloud Four

I like this high-level view of the state of CSS today. There are two main takeaways:

  1. Custom properties, flexbox, and grid are game-changers.
  2. Pre- and post-processers are becoming less and less necessary.

This is exactly the direction we should be going in! More and more power from the native web technologies (while still remaining learnable), with less and less reliance on tooling. For CSS, the tools have been like polyfills that we can now start to remove.

Alas, while the same should be true of JavaScript (there’s so much you can do in native JavaScript now), people seem to have tied their entire identities to the tooling they use.

They could learn a thing or two from the trajectory of CSS: treat your frameworks as cattle, not pets.

Friday, November 26th, 2021