Jean le Flambeur Series, The Quantum Thief Book 1 Reviewed


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In this series, we have The Quantum Thief, The Fractal Prince, and The Causal Angel. There is so much to love in Hannu Rajaniemi’s books. It is almost an embarrassment of riches. It would’ve been enough if he could tell a good tale, and he does. It would be enough if he had rich, vibrant, palpable detail in his books and he does. It would be geeky cool if he could toss off some references to quantum theory and, oh, does he. It would be coolly retro if he could loosely base a character on a 19th century French gentleman thief (Maurice Leblanc’s Arsène Lupin), and he does. It would be amazing if he could have a spaceship that has more personality than its captain, and he does. The truly stunning accomplishment of this series is that he melds all of this together as a seamless whole that makes sense.  I could thoroughly enjoy the descriptions of Game Theory puzzles without ever knowing anything about Game Theory, Hawking drives without knowing anything about blackhole event horizons, and gentlemen thieves without ever having read M. LeBlanc. Knowledge of those things certainly adds layers of enrichment, but it is not essential to enjoying the story. I fear that a number of people might be intimidated by Hannu Rajaniemi’s series due to the sheer volume and esoteric nature of Mr. Rajaniemi’s references. You really do have everything here, whether it’s a an aside to Sherlockian quote or references to particle physics, string theory, game theory, quantum mechanics and logic puzzles. It is a geek’s paradise, but not reserved strictly for geeks. In other words, you do not need to get every reference to enjoy this book. Does it add some to the experience? Absolutely. May the book be thoroughly enjoyed without it? By all means.

In this post, I’ll review The Quantum Thief with separate posts reviewing the subsequent novels.

Hannu Rajaniemi

Hannu Rajaniemi

So it all begins with our gentleman thief in a dilemma prison playing out endless iterations of a dilemma. It is a game he cannot win; one in which failure means being shot and going through the process that entails. Yet he is “resurrected” in this virtual world to play again and again. This isn’t hell, but it’s the next best thing to being there; it makes Groundhog Day look idyllic. He’s set free by an Ooratian warrior and her trusted AI-enabled ship. The adventure begins. (For a slightly more detailed synopsis, go here.)

What is it I love so much about the books and, in particular, The Quantum Thief? Let’s break it down a bit: the narrative is the poster-child of epic. It is writ over a large canvas of the solar system (and many virtual worlds). It is peopled with a variety of types of creatures, virtual and otherwise, from deeply different cultures. The stakes are high, eventually with the continued existence of the universe on the line. You get some sense of that in this book, but it becomes even more apparent in the rest of the series.   The action is clever, varied and “right-paced”: some fast-paced and some providing exquisite detail. The dialog is perfectly fitted to the characters, efficient in use (not a lot of wasted dialog) and, once again, clever.

Despite the author’s penchant for detail, for tossing in pop science and cultural references left and right, and for building this very descriptive set of events that occur, his story still moves quickly. We have lots of terrific detail, we have lots of great characters and we have a plethora of side references, none of which slow the story down. Indeed, they help move it forward. Now, this is a story in which you could easily get bogged down. If, for example, you wanted to tie back to every referenced item or needed to thoroughly explore certain references in great detail, you will likely become side-railed (in a lovely way) but it could distract from the storyline. For me, what made the most sense was to move forward with the story, often listening to the audiobook, and then going back and reading the section over again and exploring the references in which I was most interested. Again, you do not have to do that to enjoy the story, but I really love this story and am inordinately curious about science, literature, geek culture and just about everything. Listening to the story and going back allowed me keep the thread of the narrative whilst experiencing a deeper and richer story and universe. This is atypical of my experience with books. most books don’t contain as many layers. It is rare that I have an opportunity read a book that intersects such a range of interests in such a delightful way; I do not begrudge the opportunity to go through the book again. In other words, I put more effort into this book than most and was amply rewarded.  I did, however, pick and choose my “deeper dives” versus a quick reference.

As a bit of an aside, for the quick references, reading on my Kindle made this effortless. When I came on across a new (to me) but not-invented term, I would simply highlight the word and a pop-up giving a dictionary definition or a summary from Wikipedia would appear. I could find out about the term and move on now. There are number of artificial but derivative terms that this process also helped identify. As far as I know there’s no such thing as Hawking drives, but there is a related concept, Hawking radiation, and that ties into how the Hocking drives work. I love it when I learn more about our world from reading about an invented one. By the way, the worlds of Jean le Flambeur do get a little complicated and hard to follow, here’s a helpful reference wiki.

The Quantum Thief is world creation par excellence. The worlds and their related cultures are detailed with care, using the story, action and dialog to bring out their details. Now, it is interesting to see that there were a number of reviews, at least on Amazon, that loathed the book. One of the recurring themes is that the author will use unexplained terms. He’ll embed in a dialog or description of action a new term, say, q-dots, without telling you what they are. Mr. Rajaniemi’s typical M.O. is to use the term, provide enough context to hint at the basics of what it means and provide exposition through dialog or description later. My guess, and mind you, it’s just a guess, is that by the time he does give a more thorough explanation of a term or concept, you’ve had enough hints that the explanation takes less time than it might otherwise. While this is frustrating for some, it allows the maximum understanding of a term with a minimal effort, thus avoiding dragging the story down with exposition. Admittedly, the delay can be maddening (hence the reviews) but with all of the new ideas he introduces, this story would drag and the books would be the size of Patrick Rothfuss’ or George R. R. Martin’s books. Mr. Rajaniemi leans on the densely packed but slightly delayed side of things.

Mieli Releases the Sentinels by Laczi

Not only are the relationships well-developed over time, not only are they multidimensional and complex, not only do they include the love-hate relationship that often happens between people, but where there are shifts, nuances, changes, or re-mappings of relationships, they all fit in the context of the narrative. Any movement among relationships help drive the narrative as well as help bring sense to the characters involved. It is not as if the changes are inevitable, that they are part of some fatalistic plan on what “must have” happened throughout the story. But they make sense. They are not simply there for their own sake, but help make sense of the narrative drive of the story, of where it’s going, what’s going to happen next, and who’s involved in what way at what time. Even when those characters that we come to love die a sad and lonely death, that even makes sense. There is love and loss, there is heartbreak and hope, there are jaded elements as well as true trust amongst the character, much of which comes from the most unlikely sources. In the Quantum Thief, I love the relationships between Jean, Mieli, and Perhonen. Love/hate, trust/watchful, and humorous/serious facets of their relationships come out at different times. The intricate social relationships amongst members of the Oubliette and the Zoku are a sight to behold. The whole ritual of how much Gevulot to open or how much to pass on to the exomemory are intriguing. Living in the Oubliette is one long, careful dance.

You want characters? It’s got ‘em. Of course you have a whole universe of foreign souls with which to populate the story. When you have lots of canvas on which to paint, “new” and “various” are the watch words of the day.  While Mr. Rajaniemi draws on a ton of reference material, make no mistake: his story, world and people are all quite new. For example, while we see an almost steampunk society in the Oubliette of Mars, we also see a hint of Regency England and more than a hint of a unique future world. We see an oddly communal society in the Zoku based on areas of interest. Later on in the series, you’ll see a whole society built on Arabian culture from Earth full of Jinn and wild stories. In all of this, you always have  the question of whether you’re in the physical or virtual realm, even a world within world. This keeps you on your toes. So you have many cultures and worlds all interacting to move the story along while giving context for characters to grow and relationships to blossom.

As you can probably guess from the above, this is one of my favorite books and favorite series. There is very little not to love with a whole lot to love. It is the book of a renaissance man hitting all of the buttons of things I love, hitting a few I didn’t even know I loved and doing so within the context of great story and relationships.

So what do I not like about the book? Chirp, chirp, chirp – I’m having trouble coming up with much but one of my favorite characters dies in the series and I hate that.

Scott Brick

Scott Brick

As I indicated above, I listened to the audiobook. Because it’s dense material, I don’t recommend that be your only way of taking in the content, despite it being an excellent recording. Scott Brick does his usual fabulous job narrating. Mr. Brick is up there in the pantheon of favorite narrators and hits all the right notes on this one. His pacing, emphasis, and enunciation are nearly flawless, which is a particularly challenging feat since it’s loaded with technical material and new terms.  The good news is that he also narrates The Fractal Prince. The bad (and, quite frankly, puzzling) news is that he does not narrate A Causal Angel. More about this switch and the narration here.

I cannot commend this book and series enough.


Recent Technology Changes and their Implications for Music and Books Series, Part 3


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Disruption Happens: A Change is Gonna Come


Courtesy of

In this third part of the series of recent technological changes, especially in touch and voice interface, and their implications, we’re going to look at how these changes might disrupt both how we acquire, interact, and contribute to content. In our previous posts we touched on the effects that these changes are having, now we’ll dive in a bit more. One of the most startling changes is our access to content. Whether it’s Amazon and their instant download of books, music or movies or services like Netflix, Pandora, Xbox music, iTunes or the ever present Youtube, we have dead easy access to lots of content in a much more affordable way than ever before. That, in and of itself, is a huge disruption to the marketing models of yesteryear and to our interaction with the content – no access, no interaction. As with any disruption, there are good and challenging aspects to it. For less well-known artists, whether they are writers, musicians, or, to a lesser extent, directors and actors, there are many legitimate channels available to make a living off of content creation. Self-publishing is no longer vanity press, webisodes are no longer amateur hour and Noisetrade isn’t just for the artist that haven’t made it. These are all ways that great artists can now connect with their audience which were prohibitively expensive and controlled by publishers under previous marketing models. Now, sure enough, prices have also gone down and it is still a challenge to make a living as a writer, singer or actor. If you’re self-published, you have the additional challenge of all the publishing aspects getting great cover art reviewers etc. along with being a marketer of your product. Not that authors weren’t involved to some degree previously, but it’s completely on them in the self-publishing world. For well-known artists, the drop in prices can mean a drop in income and established brick-and-mortar stores may become unviable. Distribution channels may wax and wane differently as people choose to cut cable and go over the web. Disruptive technologies cause disruption and we haven’t seen the full fallout of these changes in acquiring content yet.


Courtesy of

From a consumer perspective, it’s fabulous. For example, I am able to interact with writers much more readily, have access to their content, for all practical purposes, instantly and am able to more readily find those with similar interests and connect with them. Building communities around content is not especially new, book clubs have existed for a long time, but more focused communities are more readily available. Whether their for fans of the Bard connecting through ShakespeareSunday and tweeting their favorite quotes to geeking out with fellow sci-fi and fantasy fans on Sword and Laser video various community sites or their Goodreads group. Of course, this also impacts content creation and fanfiction, fan-movies and influencing what’s created through Kickstarter projects. I can readily see short movies like Gödel Incomplete made as part of a student project halfway across the world in Australia. I’ve explained elsewhere the benefits of streaming music services and musical exploration. I’m not sure there’s a better time in history of man to be a reader, movie aficionado, or music connoisseur than now. I’m also not sure that there is a better time to be a content creator with the possible exception of very well-known writers, actors and musicians.


Courtesy of Microsoft

As we’ve previously touched on, the new interfaces have made access to content easier. Prior to e-readers, we didn’t have instant access to books and they tended to be more expensive. Prior to computers and tablets, we had more limited access to movies, TV shows and other visual content. Prior to smartphones and digital audio players, we had more restricted access to music. All of these are dependent on the Internet. Prior to streaming services, I had much more limited access, financially, to new music, new artists, and new experiences. Clearly I can’t interact with that to which I have no access, so this is the most disruptive part of it all.


Courtesy of

My ability to highlight and keep notes on books that are available anywhere at any time and that are able to be incorporated into other content like reviews is huge. My ability to impact others is also larger. While word of mouth remains a critical force for influencing others, my blogs, Amazon reviews and freelancing have a much farther reach. With streaming services, I can compare different renditions of Nina Simone’s “I put a spell on you.” As I hear new music in Starbucks, I can use Bing music search or Shazam on my Windows phone to find out who they are and listen to their album. And, of course, I can do this just about anywhere. I can read, listen and view anywhere, at any time (presuming technology works, for example, I’m in a place that has Wi-Fi or LTE access). On the content creation side, I can write, critique and comment from just about anywhere as well. Even things like podcasts or music videos may be done reasonably well from lots more places than a standard studio. Access to prosumer high definition cameras (even my Lumia 920 smartphone has the ability to capture 1080p video with optical stabilization), decent microphones (like Blue’s Yeti) and rudimentary sound baffling can result in a good music video. The hurdles to content creation are starkly lower than they have been in the past.

Courtesy of

Courtesy of

We’ve seen an explosion in audiobooks with the advent of audio downloads. Long gone are the days of the vast majority of a catalog being abridged. Most audiobooks are being produced in full and with good sound. Access was limited to a CD (or cassette) and a car or home; now you can listen anywhere. Many writers now take into consideration their words being read aloud for an audiobook as they write. This bit of technology, in other words, has changed what writers do. Once upon a time, the only way you heard a concert was to go to the concert hall. If you couldn’t afford it or you weren’t free at that time, no content. Records changed all that. Radios change that. People were able to hear Mozart’s Magic Flute or Beethoven’s “Chorale” Symphony for the first time. In the beginning the sound fidelity was pretty weak by the time stereo records run the scene, the fidelity was pretty strong. Now we can experience The Magic Flute on our tablet. We could go down history lane beginning with handwritten manuscripts, to the printing press and to e-books, but ease of access, financial and otherwise, results in an explosion of content use and, thereby, creation. Bring on the distruption.

Courtsey of

Courtsey of

But all this is been about either access or socially sharing information. Does touch or voice interface have any disruptive capabilities? Well, clearly it does for the visual and hearing impaired; this ought not to go dismissed. Even beyond that however, any time interacting with media is made easier, that changes the game. Simplifying and opening up access is disruptive. Think about the ease-of-use of a cassette player over a record player. It allowed you to be mobile with Walkmans and car players where you had to be home to play your records (with the exception of some awkward portability). The care and feeding of a cassette player was considerably easier than a record player. Music consumption grew. Having music easily accessible on our smartphones without going through a lot of buttons and menus does likewise while encouraging us to experiment more, mashup and mix as well as try new genres. The fact that we can speak to our Amazon Echo increases my family’s sharing music, and sometimes arguing over our favorite music. So it’s not only (typically) easier but more fun. It’s a communal activity. Of course some changes allow us to go back. We can use that Bluetooth speaker to stream things like the audio play Ender’s Game Alive for all of us to sit around and listen just like with the radio plays of old.

Surely there are disruptions that I don’t see coming as a result of voice and touch access, but disruptions will come. Long live the revolution.

East Main Guest House – Quiet Calm, Great Breakfast and Personable People in the Heart of Rock Hill, SC


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While today’s post isn’t precedent-breaking, it is only my second travel review (the Minnis House being the first). I recently found myself needing a place to stay in Rock Hill, South Carolina (just below Charlotte, NC). The first night was for four people, the second night was for six and the last night for two. So, I was trying to find a suite that could accommodate six where at least two rooms could do so. For reasons that remain a mystery to me, hotel rooms were booked all over Rock Hill. So I found myself looking at bed-and-breakfasts; I use the word “myself” loosely here. Kelly, my wife, did the research. East Main Guest House seemed like a good destination. It’s within walking distance to downtown, easy driving distance to a mall (which became critical about which more later). The prices were no more than any other local commercial hotel and it had a real breakfast thrown in. Mind you, four of the six guests are teenagers, so there’s some real eating going on here.


The B&B turned out to be quite a delight. Not only did they accommodate my expanding needs, but did so with panache. The proprietor (and cook), Melba Peterson was very helpful as were Scott & Donna Peterson who have a little more hands-on taking care of the place. The inn is spotless, the people personable, and the food is fabulous. Ms. Peterson is ready to engage you in conversation or leave you alone, as you desire. What we enjoyed most was the quiet and calm of the inn (compared with most commercial hotels) and the breakfasts. Logistically, as I noted it’s near downtown and there’s plenty of parking in the back with entry and exit easily accomplished. I had to go to the local mall to outfit one of the teen boys in full regalia as he didn’t bring a suit and tie for the occasion. I walked into J. C. Penny with a semi-casual looking boy and came out with a GQ stud (yes they allowed us to buy and wear on the spot – suit, tie, shirt, t-shirt and shoes). Being near the mall proved to be very helpful.

I would highly recommend the East Main Guest House to anyone staying in Rock Hill, whether passing through or staying for a week. You’ll enjoy the ambiance, the conversation, and the food.

Recent Technology Changes and their Implications for Music and Books Series, Part 2


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Part II:  Recent User Experience Changes on Books, Music and Movies

In the first post in this series, we looked at recent technological changes; in particular, we focused on touch and intelligent voice interface. In this, second in the series, we’ll examine how these changes may play out with regard to media focusing on books with a brief look at music, and movies. We’ll look at the current implications of these changes and some potential unrealized. We’ll also look at use of voice and touch to do things other than make stuff happen, in others, look beyond simply seeing them as a replacement for keyboards and mice. Some changes, of course, are already underway. By the way, most of the examples of what I’ll be discussing come from Amazon. It, along with Microsoft (and especially XBox’s Kinect) are doing the most consumer based innovation on interacting with content. So what are the themes as we see technology change our interactions with content, especially regarding books:

  1. We’ll use whatever works best, including combinations of interfacing with it. 
  2. We’ll start doing some new things like bimodal reading
  3. We will do more sharing, commenting and creating of content in reaction to the content we consume.

Current State: Navigating and Syncing with Touch and Voice

If we look at e-readers, we see that voice and touch both already play a role. Starting with the Kindle Touch, we obviously see touch interface with the reader. This continued through the Kindle Paperwhite and the Voyage. Clearly, there are other e-readers that perform similarly.


What the Kindle readers also bring is Whispersync for Voice. Now this is different from a typical voice interface since this involves syncing between audiobooks (hence, the narrator’s voice, not yours) and e-books. So, it’s neither an intelligent interpretation of words nor a way to directly interact with the book that were reviewing here. Rather, it’s using location recognition within a book that is available for both voice and E text to sync with one another so that you may start the e-book from the last place you listened to the audiobook and vice versa. (More on which here.) So it’s helping navigate, sure enough, in the sense that it’s getting you to the point that you want to be, but not based on voice commands.



New rule – no rules, mix, match, notes, research: use touch, voice and everything else as needed. 

So that leads us to our first point, which is not all the updates using touch or voice are all about navigating or commanding. Our second point is that you should not limit yourself to one interface even with the same object. This is the “mixed martial arts” version of an interface, use what works. So it could be that you take a combination of pen entry and/or freehand drawing voice and text all to make your point, or convey information. As one of the beauties about Microsoft OneNote is the product’s built-in ability to use as touch, pen, voice, or keyboard – whatever works. That’s really what this is all about making stuff work making it work more easily make it work more quickly being more productive. OneNote can even take an image with text embedded in it and OCR that text to the point where it’s editable. It’s a little like Johnny Bench, it will take whatever you throw at it any way that you throw it.


So, we don’t use new styles of navigation simply for the sake of being new, but they’re actually helpful. Changes in e-book interface using voice and touch are established. There’s also some other sensory data that play a role, for example, on the Voyage there’s a sensor that allows it to recognize the ambient light around the reader and adjust the light accordingly. So the interface is made brighter based on the environment. Also if we turn the device the print will translate to landscape. One of the nice things I like and using the Microsoft Surface tablet in the Kindle app is to put it in portrait mode for comics and there’s a feature where you can tap through sub- pieces of the panel within the comic and it will enlarge that area so it recognizes that you may want a slightly larger viewing area than the whole page and so it will expand out that part and dam and make smaller the rest of the comic so that it’s a little bit more clear and you can actually navigate from sub-panel the subpanel without ever going to the full panel. Practical and brilliant use of touch interface.

Screenshot (20)

We also must recognize what works well and voice and touch have their limitations. In the Voyage, you have the option of using the screen to navigate or using tactile presses called PagePress that are along the sides of the bezel. While the initial push was to mimic the process of reading a book on paper as much as possible, over time, we recognize this may not be the best way to experience an e-book. That sometimes means recognizing that it will involve a different process than paper. In the case of the Voyage, you see a step seemingly backward by now allow separate button-like pushes to navigate. This may simply be recognizing that while similar to a print books, it is different and some things work better than others in that medium. All this is to say touch and voice are already playing a role in how we interact with books, albeit, the voice interaction isn’t our voice directing things.



We Can Navigate – What’s Next?

But where could this be going? Well there’s some real clear ways you can see this process moving forward in terms of taking notes. One of the great benefits of having it on Kindle as you can note some highlighted passage and get back to that later for review or research. It would be terrific, if you could simply speak out your notes and their translated into textual notes and saved associated with that passage ala Dragon NaturallySpeaking. Enabling intelligent voice search within a Kindle would be terrific as well and then could be extended to intelligent voice search within an audio book. I can see having a more tightly integrated audible interface into the Amazon Echo, so that you can search, start, stop, and bookmark audible books via the Echo. All of this would simply be an evolution of what’s already there for touch and voice. Amazon also experimented with an artificial voice reader of text for those who have difficulty reading. This was never a substitute for a narrated book, but rather a stop-gap for those who could not read the text well. The Kindle Fire allows for binaural reading, which essentially has the text and the audio portion synced together as your reading. So the text dynamically follows along at the same pace as the voice. There are some studies that suggest the content is retained at a greater level when binaural reading is used. So, touch and audio aren’t necessarily all flash and amazing intelligence; they may work in such a natural and embedded way that you don’t even notice that they’re involved in your interface.

Inside Echo Sound

Inside Echo Sound

From an audio perspective, obviously audio is already deeply involved with books. There are even experiments in providing a more immersive experience with books via background music and noises; a sort of soundtrack for the book. See, for example, Booktrack and read A Scandal in Bohemia complete with music, sounds of horse hooves along cobbled stone Victorian streets, the bell at 221B being rung and footfalls up the stairs. Also check out Soundtrack to a Book. While this may distract as much as immerse, it’s a whole new way to interact with books. For myself, I prefer imagination and a little book music.




Listening to music is another place where voice and, even touch, have made little change.  Other than generic searches that lead to music, we don’t see much in the way of voice being used to access any of your playlist until Echo came along and changed that to some degree. Now voice can be used to search for music search for artists, request an album, and request a song via Amazon’s Echo. Clearly that’s a bit of a boon to those who are visually challenged, but it does take a practiced effort to get what you want out of the Echo. One of the things that I’ve noticed, for example, is that the search results returned an item as opposed to a list of items among which to choose. So if it’s not the version of Vivaldi’s Four Seasons that you desire, you don’t have an easy recourse other than more specific searching. In other words, were a long way from using natural English to elegantly interface with music players or anything else. While we have some touch-enabled interface, for example iTunes, Beats Music, Spotify or Xbox Music players on smartphones and tablets. So there’s nice ways to navigate there is well-presented albums and their respective covers, it still mostly around allowing touch is a way to navigate with your music in very similar manner as using keyboard and mouse. It’s nice that they’ve finally gotten to the point where they incorporate the idea that I don’t want to scroll through hundreds and hundreds of things to get to what I want and that search isn’t always the way want to go either. So like this idea of navigating to an album by clicking on the letter brings up the alphabet, then selecting the album beginning with that letter. On the PC it’s even a little bit weaker we see Xbox Music allow you to use touch interface is just as easy to do the same thing with a mouse why then select yellow submarine.

Amazon Fire TV Android App

Amazon Fire TV Android App

In other words, so far, there’s been relatively little effort into how we might interface with our music with touch beyond navigation. Do we want to do some mash-ups. Are there ways that we can use touch to more dynamically build playlists. How about I literally shuffle images to build a shuffle playlist. I honestly don’t think we’ll see a new shift in how we interact with interfaces via touch and tell we have some ability to mimic 3-D, then the possibilities will open up. Are there ways that we can visually represent the music via touch more readily or more creatively at least. So one of the things that I think will see changes not only is touch fused to navigate with our media, potential be used interact with our media. What if I want to build a video/slideshow by grabbing bits of music and pictures and even other video and mashing them up. I suspect there’s a way to do this with multiple fingers in such a way that it’s really creative and fun almost a game. Similarly with voice, not only do we went to navigate via our voice or issue commands, but possibly use a tone for voice to indicate a beginning of a song that we want to pull into a playlist. Hum a song and have it identified on shazam. Build riffs off of current songs that were listening to and place them within another context. Indeed, I think we’ll see that the next step in touching voice is less about navigation commands and making things happen, and more about interacting with the media itself.

XBox 360 with Kinect

XBox 360 with Kinect

Of course, of recent innovations with how we interact with content, XBox’s Kinect where motion is used to interact with the user interface as well as games. Windows also uses movement and gestures to interact with the OS; many people find this interface unintuitive, but it is innovative nonetheless.

Viloin with Books


We Creating, Not Merely Consuming

The technological impact on consuming media then it goes well beyond navigating and initiating via voice and touch. We see the enabling of information the idea of x-ray or IMDb together more information why you’re consuming books and or movies, the ability to insert your own notes and highlights and come back to those in the ability to share through things like good reads your experience within that content. In other words creating content sharing via various social media writing your notes bringing it together for a reading group or movie club are all going to change Artie have changed the ways that we consume the content. Will look at embedded trailers before we go to the movie or view it online. We’ll look at reviews before we purchase a book. All of that information changes, at least a little bit, how we interact with our content.

Example Kindle notes

Example Kindle notes

In other words creating content sharing via various social media writing your notes bringing it together for a reading group or movie club are all going to change Artie have changed the ways that we consume the content. Will look at embedded trailers before we go to the movie or view it online. We’ll look at reviews before we purchase a book. All of that information changes, at least a little bit, how we interact with our content.

X-Ray Example

X-Ray Example

A similar notion, using IMDB, holds for movies:


X-Ray for movies



The Waiting Room

J. T. Frazier:

Cool review of “The Waiting Room” by Alysha Kaye from someone who does not normally love romance novels

Originally posted on sand between the pages:

The Waiting Room

by Alysha Kaye

The Waiting Room

Jude and Nina are the epitome of that whole raw, unflinching love thing that most people are jealous of. That is, until Jude dies and wakes up in The Waiting Room, surrounded by other souls who are all waiting to pass over into their next life. But unlike those souls, Jude’s name is never called by the mysterious “receptionist”. He waits, watching Nina out of giant windows. He’s waiting for her. What is this place? How long will he wait? And what will happen when and if Nina does join him? The Waiting Room is a story of not just love, but of faith, predestination, and philosophy, friendship and self-actualization, of waiting.

I tend to approach romance books like a 10 year old boy: Love!? YUCK!  It’s stupid really because I need love stories as a sub-plot to my murder mysteries, survival thrillers, and superhero stories. …

View original 397 more words

Martha Goddard’s Brilliant Film Short Gödel, Incomplete


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It’s funny how things come together. We have times where you’ll see similar themes emerge quite organically in culture. We’ve seen movies recently about mathematical and scientific geniuses like Alan Turing in The Imitation Game and Stephen Hawking in The Theory of Everything. But clearly it isn’t just the smarts that bring us to the movies. There has to be a dramatic element and often a romantic element. I love to see this mix, this intersection of art and science, partly to connect to what would seem so foreign such as esoteric string theory and quantum mechanics or game theory and cryptography. Now, of course, Mr. Turing has built-in drama in his life and in his work during the war. Mr. Hawking has a embedded drama in his life as well in pushing beyond his terrible disease to keep working.

Martha Goddard

Martha Goddard

Austrailian Writer/Director Martha Goddard has a new short (15 minutes) out called Gödel, Incomplete starring Elizabeth Debicki (The Great Gatsby, upcoming Man from Uncle) and Matt Zeremes (Burke&Wills, Australian TV shows The Surgeon, Home and Away). This movie aligns itself well with the geek chic that we have seen in the last few years with everything from Numb3rs and comedy The Big Bank Theory to Sherlock and Elementary. Gödel, Incomplete celebrates the intellect and relationship whilst leaving an intriguing question about Kurt Gödel’s research that led to thinking on time-travel. Indeed, in a separate post, I’ll explore a little bit more on this coming together of worlds celebrated by geeks and others.


Returning to the movie, however, there are some theoretical underpinnings posited by Mr. Gödel related to time travel. In particular, the Gödel Metric, timeline curves which could allow for a form of time travel, are well established. The application of rotating universes leading to time travel was thought by most of Mr. Gödel’s colleagues to be results of Mr. Gödel’s mental deterioration and paranoia. It was a work left undone. So, the title is a nod to both the Gödel Incompleteness Theorem (basically showing , using a self-referential mathematics, that all of math cannot be derived from a set of axioms) and his unfinished work on time travel.

Matt Zeremes

Matt Zeremes

The movie starts out with a young woman, who is a particle physicist, working late at a particle accelerator (in fact the LHC). When she initiates the smashing of atoms at enormous speeds, it seems to put her into a time warp. She is led once to an older Gödel and later to a younger. Now it’s hard to say much about a 15-minute film without giving away spoilers. What I will say is that this short film does what any great form of short story does. It paints in hints and short brushstrokes of brief frames to build a whole relationship, a development over time. It’s rather stunning that Ms. Goddard is able to build this world, this relationship, this idea of time travel with such a brief use of time.

Elizabeth Debicki

Elizabeth Debicki

There are so many perfect production touches in film; I’ll simply give away one (small) spoiler: on returning from an early time trip, our protagonist, Serita, loses her cookies. I can imagine a little bit of time travel might be disorienting. So too, might meeting an older Kurt Gödel. She even puts to good use a bad habit; our physicist smokes, nicely tying into an earlier time when many smoked. Each of these touches make it feel more real. The music (excellent work by Basil Hogios, sets much of the atmosphere of the movie), transition scenes into Gödel’s world, and clarity of the frames without being harshly stark all point to great production value despite being a short film. While the roles only provide glimpses, the actors really do a nice job communicating with eyes, body language and movement to sustain that sense of developed familiarity. As I indicated above, I’ll dive deeper into this intersection of science, mathematics and humanities, for lack of a better word, that seem to be bubbling up everywhere, but I simply love its expression here.


It would be fabulous to see this project extended to flesh out the relationship even further, to build out the notion of time travel and the effects that it has on both Serita, Kurt Gödel, and others in their circle. Mr. Gödel clearly had some demise in his paranoia; he was also one of the most brilliant men of the 20th century. I would even say he’s the century’s Fermat. Not only did he rebut Russell and Whitehead, propose the P versus NP problem (which figured nicely in a season two episode of Elementary), provided Einstein with solutions involving close time-like curves related to his theory of general relativity, he even dabbled in theology. In other words, he is an intersection point; back in the day we called them renaissance men (and women) So, it’s at least fun to posit that his theoretical underpinnings of time travel have some less theoretical application. Seeing more bones put on that in the context of this complex cross-time relationship would be intriguing and entertaining. In a mere 15 minutes, Ms. Goddard inflames that curiosity while also leaving us with a sense of, well I can’t say without spoilers (I know mean, right?).


So, while it’s hard for most of us regular Joe’s (OK, pun intended) to get to a showing of this, I’ve been in contact with Ms. Goodard and she’s been kind enough to provide access to those interested. Contact her here. I think it’s been in New York and Miami, if you do have an opportunity to see on the big screen, take it. It’s some of the best 15 minutes you’ll spend

A Plea to Book Series Authors, Agents, Publishers and Audiobook Narrators


It’s always a bit of a challenge to switch horses midstream in any endeavor. It’s particularly difficult to change audiobook narrators throughout a series. As you come to know the characters, the setting, and have lived within the inner active dialog amongst those characters, you grow to know them fairly intimately. Sounds form memory. So, you associate pronunciation with people, tone with certain types of activity and pacing with narrative drive. A new voice comes along and now you have all sorts of challenges to that subconscious memory of the story. Everything feels a little off because you do not have those audio cues that tell you about the character, the narrative or the setting. A new narrator whose voice is starkly different from his or her predecessor makes the transition even more difficult. So, my dear publishing and author friends, while I get it’s a business, people have conflicting schedules and sometimes you cannot continue with the same narrator, if the narrator’s good, do all that you can to keep consistency. If the narrator’s not working out, of course, look elsewhere in the second book in the series (don’t drag out the transition).


Scott Brick

Even if you must switch, there are some things you can do to mitigate the challenge. One of which is to use the same dog-gone pronunciations. It seems to me the audiobook publishers are being a bit lazy or cheap if they don’t pay narrators to insure the transition goes smoothly by paying them for this transition time. This is not a matter of “a right way,” it’s simply a way to make the transition easier for the listener. I have listened to a series where the voices were relatively similar, where I barely noticed the transition. That’s rare. One of the most challenging transitions I have ever had is in the anazingly brilliant Jean le Flambeaur series (The Quantum Thief, The Fractal Prince & The Causal Angel). Now Scott Brick, admittedly, is one of my favorite narrators. I’ve heard him narrate everything from Isaac Asimov’s Foundation, Ayn Rand’s Atlas Shrugged to being in the cast on Orson Scott Card’s audioplay Ender’s Game Alive (best audioplay ever). He is a prolific narrator. He narrates the first two books in the Jean le Flambeaur series. One of the reasons his voice lends itself so well to this series is that it takes on an ethereal, other-world quality. It’s a sci-fi series that includes virtual worlds within worlds, minds taken from living beings and placed within quantum machines and three of the four major players are female. While a number of male narrators do a nice job with females, it is particularly difficult to do well. Mr. Brick’s voice meshes well in this world. It has a softer, dream-like quality with nearly perfect pacing to match both the action and the introspection.

I’m not sure why he wasn’t the narrator for the third book. Maybe other projects got in the way. I don’t know. [UPDATE: it wasn’t other projects (see comments below), he simply wasn’t asked. What?] I do know that any narrator after him would have large shoes to fill. Roger Wayne does a nice job narrating, but, due to the limitations in the industry, makes the transition hard; he is the narrator of The Causal Angel. Overall, Mr. Wayne’s narration isn’t bad. If fact, he strikes me as a more than capable narrator. I do believe that his voice is not ideally suited for this type of world, this type of story. It seems to have too much edge, too much hardness to it. However, that’s a mere preference and his voice would work well for other stories. I could easily see him narrating Clive Cussler or Tom Clancy. However, to exacerbate the transition, he pronounces nearly every name differently. For example, take the ship with a snarky AI personality, Perhonen. (All names mean or reference something in Hannu Rajaniemi’s world, this one means butterfly.) Mr. Brick pronounces the pair-ho-nen with a ho being light. Mr. Wayne’s is purr-HO-nen with the ho being heavy. It’s silly to argue who’s “right” but given that Mr. Wayne follows Mr. Brick’s two books, he ought to mirror Mr. Brick’s pronunciation. I end up involuntarily rolling my eyes whenever Mr. Wayne reads the ship’s name. Obviously, that pulls me out of the moment; it pulls me out of the book. Right, wrong or indifferent, that’s a slap in the face to anyone following the series, and let’s face it, the vast majority of folks listening to the third book in a series is going to have listened to the previous two. I understand about tight schedules, limited budgets and the trials of making a profit in the audiobook industry. If you’re going to get a new narrator, make sure the transition is as smooth as possible. Better still, don’t get a new narrator. Narrators matter; if an audiobook publisher doesn’t believe that, they should check out the sales differences between audie winners and others. I listen to more books than the average bear; there’s a number of books where I only get the ebook due to the narration. I doubt I’m alone. I also look for books done by my favorite narrators.

That should never be the aim of narrating a book. Just like great writing typically doesn’t bring attention to itself but simply provides a way into the story (hopefully a lovely, clear and endearing way), so too narration should not draw attention to itself. Good narration may be lovely, winsome and soothing, but it shouldn’t pull you out of the story. For example, I could listen to Emma Newman (author and narrator of the delightful Split Worlds series) all day long and revel in her narration in a way that, quite frankly, I never would listening to Scott Brick. Even with her dulcet tones, she never pulls me out of the story but envelops me in it with her voice. It seems to me that’s the epitome of good narration.

Emma Newman

Emma Newman

So here’s the plea: authors of series, their publishers and agents, if you’ve got a good narrator, fight for that person to stay on your series. Fight hard. If schedules conflict, in my humble opinion, it’s even worth a little bit of publishing delay to the audiobook. Narrators, if you are called to come into a series midway through, please listen to your predecessor(s) and try to match, as far as reasonable, both the pronunciations and the pacing. Audiobook publishers, please require and recompense narrators to make a smoother transition. I should not feel like I’ve just walked into a new world when I have a new narrator. Make the crooked straight and the rough places plain in my transition to a new voice within the same series.

Recent Technology Changes and their Implications for Music and Books Series


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Part I:  Recent User Experience Changes

In a three-part series (Part 2 & Part 3, we’ll briefly explore relatively recent technological changes and on their impact on our interaction with books, movies, and music. While there are numerous implications for producing the content, I’ll mostly focus their impact on consuming content. It’s pretty clear that the time is coming when books, movies, and even music will be produced in different forms than they are now, but that would be a different series.  In this first part, we will focus on the changes we’re seeing, the second part will be about changes to how we consume the content and the final part will be the disruptions we’re already seeing and reflect on near-term changes.


Some of the patterns that are emerging with this year’s technology, beyond wearables and connecting items that aren’t computing devices (“the internet of things”), are changes with the user experience especially using touch and smart, voice-enabled interfaces. In particular, we’re seeing embedding of OS-like features crop up within devices and applications such as search. There is a clear focus on voice requests/commands and intelligent voice search for taking on more tasks in more places. We’ve seen this with the intelligent speaker Amazon Echo (a.k.a. Alexa) and on our phones with Cortana, Google Now, and Siri. We also see less intelligent voice-activated search like “OK Google” which translates your search request but returns the results in a traditional manner.  Soon we’ll see it via Cortana in Windows 10. We have gone from disconnected PDAs to phone (connected) PDAs to phone computers to embedded intelligent personal assistants. Using these personal assistants went from a physical keyboard to a virtual keyboard, including Swype, to now using voice interface for straightforward tasks such as setting up appointments. We’re also seeing those assistants initiate actions such as rerouting our drive based on traffic or informing us when to leave for an appointment earlier than normal due to traffic.

So, we’ve been on this journey with touch as an interface for our computers and phones. Now were augmenting further with voice. I have been using touch on computers, specifically the Surface RT, the Surface Pro 3, Lenovo Yoga, and, of course, my Lumia 920 Windows phone. So, touch has been an integral part of my computing experience for roughly 2 years. While I don’t use touch for everything, and the keyboard/mouse combination still does the Yeomen’s work for creating content, I do find myself irritated when touch isn’t available. It is a natural response when I’m showing somebody something to touch the screen and expect it to respond. It has taken less than two years for touch to be an expected available interface. I suspect I’ll expect voice-enabled interface in an even shorter period of time. Currently, I use Amazon Echo at home; I also have an Amazon Fire Stick using an Android phone as the remote control with its voice interface to search and perform actions on the TV. Finally, I use Dragon NaturallySpeaking for initial draft writing. I’ve become spoiled quickly. On the Echo, for example, there is a physical remote control that I rarely use even if it takes me a few more times to make myself clear to Alexa (the “wake-up word for the Echo and the name by which our family knows her). I will train it rather than have to actually to pick up a remote. Pathetic, I know.

How will all of this verbal engagement with the objects around us change the way that we interact with them and others will be interesting to see. We’ve all seen the funny guy who appears to be talking to himself who’s merely speaking with his Bluetooth headset. We’ve come to understand that, typically when somebody’s speaking to thin air, there is a Bluetooth headset involved somewhere. Now we’re speaking to our phones, to our computers, and even interacting with our text messaging via voice. It becomes a little odder to be around this activity. For example, I can be in a normal conversation in our car, and receive a text while I’m driving. I’m verbally notified of a text coming in with my Bluetooth headset and I’m asked if I want to read it, so I say the words “read it” out loud with no context to anyone else. No one else heard the announcement since the headset’s in my ear. They don’t know what I’m talking to them about, then it dawns on them – oh he got a message. It’s funny how we get used to things quickly including non-contextual speaking unrelated to what’s going on around us.


Hannu Rajaniemi, author of The Quantum Thief

We have biometric security. We have devices that tell us to get up to go for a walk, what our heart rate is and how many calories we’ve burned. We have devices that tell us when to go to a meeting, when our next task is and to go early due to heavy traffic. We can touch, talk, listen and, yes, even type with various devices to get them to do what we want. They are being embedded in our lives in ways they have never been before. They manage the temperatures in our house, our refrigerated foods, our home security and lights, and our cars. We are depending on them to augment our memory and help us easily retrieve information. We have yet to determine how they change us and what this dependence means. (For a cool novel that ponders these questions, especially about our dependence on intelligent devices, see Alena Graedon’s The Word Exchange.  Hannu Rajaniemi also explores the issue in The Quantum Thief (but continues that exploration in the rest of the Jean le Flambeur series) with the use of exomemory (memory storage) and gevulot (public/private key handshake protocol) where politeness and societal standing dictates how much you share of yourself (open your gevulot) and keys dictate access to everything including your exomemory.


Alena Graedon, author of The Word Exchange

So here we are in this touch, voice, and learning OS world where there is predictive searching, predictive commands, and predictive keyboards; a world in which search results are pre-fetched based on patterns of use. This makes things easier and more convenient. The challenge, of course, is the security, safety, and privacy of our interactions with the computing devices and all of that lovely data. When Cortana can tell I’m near a store and remind me to get the milk, it’s a beautiful thing in terms of convenience and avoiding spousal chiding for forgetting once again (not to say that’s ever happened to me). However, that means Cortana is aware of my location, my intent (at least from a shopping perspective), and my history, especially on responding to such suggestions. That’s not to say that to do things more efficiently we should never risk anything. It’s simply to say we need to be going in with eyes wide open, be prepared to deal with the fallout from stolen or misused data, and push companies to mitigate the risk to a reasonable level.

Finally, we don’t know how these changes in our interactions affect us long-term. We could do, for example, some studies regarding executives from the 40s through say the 70s who used dictation devices and/or secretaries to extrapolate to our experience with voice interaction. While there is some difference in knowing that a human is on the other end of that dictation, even if it’s a human listening to a dictation device, effects on our thinking by a verbal approach to wording and any other behavioral changes could be similar. It’s also not to say that all the changes would be bad, it simply that we need to look at them. It may be, for example, that touch interface allows us to mentally automate some actions to free us up to deeper thinking and may involve more disparate parts of the brain throughout the process which builds synapse bridges and improves our thinking. In summary, we need to research, review, and be willing to adjust based on what we discover about the different types of interface.


One nice benefit I’ve noticed in writing with voice dictation for the initial draft is that I more carefully my review of the text. In other words, if I did an initial write-up by typing, I subconsciously presume that what I typed is what I intended (despite a plethora of evidence to the contrary). It was hard to catch things like typos, omissions or poorly phrased paragraphs. My best method for catching these was to read what I had written out loud. While it’s not fool-proof (and no substitute for having a genuine editor review the work), it helps reduce errors considerably. However, prior to using voice dictation, I would reserve this level of effort to high-profile communication (such as email sent to the company-at-large, writing for public blogs, or for freelance writing) and not do it for less formal writing. If the draft is done through voice, however, I always review and review more carefully. While Dragon NaturallySpeaking does a tremendous job (especially paired with my old Sennheiser headset) of translating my speech to text, not only does it have some errors, mostly due to my enunciation challenges, it also has some punctuation and capitalization challenges (not because you can’t insert them via voice, but I don’t always speak out punctuation or capitalization). So, review is always warranted. Essentially, I am able to use voice dictation for written communication that ups my game in terms of polish while requiring no significant additional time or effort than typing. Clearly, we see a behavior change based on technology.

We looked at some trends in technology with some general questions raised about their implications. In the next part, we’ll begin to explore those implications as applied to books, music and movies.

Tech Armor Ultraclear Ballistic Glass: Screen protection that actual works


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Recently, I joined the throngs of tech buyers pushing Apple’s profit to all new highs when I bought an iPhone 6 for my wife. Now, smartphones are pretty tough customers, considering they’re mostly glass (OK, very tough Gorilla Glass – see our friends from Mythbusters on The Glass Age) and plastic and metal. They’re constantly with us and go through substantial abuse. Hence, the benefit of cases and screen protectors. Cases to mitigate the affects of a drop; protectors to mitigate scratches.


I’ve always thought it a wise idea to have something between that gorgeous screen and the cold, cruel world of scratching things. On the other hand, you now have something between your eyeballs and that gorgeous screen. So, it needs to be crystal clear as well as protective. Long gone are the days where you’re primarily looking at contacts to dial on your phone. You’re surfing the web, you’re looking at videos and your Skyping. You really want a clear screen for those activities. I remember when I got my first Android smartphone, a Samsung Galaxy S (Epic), back in the Gorilla Glass 1 days, and bought a Zagg Invisible Shield to protect the phone and the screen. While I know I’m not going to be a brain surgeon anytime soon, my eye-hand coordination isn’t utterly pathetic. Yet, trying to apply the Invisible Shield so that it aligned perfectly was beyond my purview. Moreover, no matter what I did, I could never get the screen part of it to be completely bubble free. I watched the videos. I applied the special water. I use the squeegee. I did it in a quiet room when no one could bother me. There was no hope. I finally got it reasonably well on and, as the folks at Zagg indicated, most, but not all, of the bubbles went away. This, after much blood, sweat, and tears. I also finally determined that having my really beautiful screen obscured with a protective “invisible shield” film wasn’t worth it. I took it off, threw it away, and haven’t looked back since. I’d rather take the risk than noticeably diminish my visual experience on a daily basis.

[NOTE: Focus is on the home button]TechArmoriPhone6NCH1

A colleague of mine recently showed me somthing new: Tech Armor’s ballistic glass. The protection was a solid piece of clear plastic rather than a flexible film. It looked great on his phone. So, it was with some excitement and trepidation that I  decided to take the plunge again and try this new screen protector. Oh what a difference new technology makes. I approached it with the same care that I did the film versions. I made sure I was going to be uninterrupted. I had a clear working space. I carefully prepared the phone for the installation. Man, I could’ve relaxed a lot more. It went on easily, with no angst. I didn’t have any noticeable bubbles to squeeze out. While the alignment, is not utterly perfect,it  is well done. I could feel the tension leave my body when I realized that I was not playing the game of Operation and losing, where losing meant either having a diminished phone experience or throwing away my money and the protector. No, Tech Armor was dead easy and spot on.


So, now the slings and arrows of outrageous key scratches are no longer a worry. My wife originally couldn’t even tell the protector was on until she looked a bit more carefully. You simply see right through the screen protector without even noticing it’s there. This is the way consumer tech needs to be. Straightforward, while doing the job. Now, Gorilla Glass 4 is some seriously amazing technology. Not even it can totally eliminate scratches, nor will Tech Armor’s Ultraclear Ballistic Glass. It will, however, protect the underlying screen from getting those scratches. If, for some, reason the glass gets scratched up to the point of being bothersome, I’d much rather pay $10 or $15 to replace the protector that the $100 or more to replace an iPhone screen.

I heartily recommend tech armor for your phone. I personally own one of the toughest phones on the market, the Nokia Lumia 920; its ability to withstand the harsh realities of life is legendary. I would order a Tech Armor screen protector for it, if they carried it. They do not. The only Windows phone for which they have a screen protector is the HTC M8 because it’s the same outer hardware as its Android cousin. They do, however, carry  most of the popular lines including recent iPhones, iPads, Samsung, LG, Google and HTC Android phones, as well as Amazon’s Fire. Seriously, check them out if they carry your device.


Janelle True’s Painted Pianos Album is a Musical Treasure


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Hey PaintedPianosFrontCover

Janelle True’s sophomore album, Painted Pianos, demonstrates both her raw talent and her growth both as a song writer and singer. (Go here for more on her debut album, Swept Away).  This will become evident as we dive deeper into the album. Three of my favorite songs are found in the center of the album: “I Am Found”, “Forevermore” and “A Little Bit of Everything.” They show off her ability to write beautiful lyrics, just flat out sing a ballad,and switch to a lighter beat with a great message of learning to avoid confusing a lack of many different experiences with naïveté.

“Treasure” epitomizes setting values aright. I especially love the line “I’d rather be a poet/Writing sonnets on my hand/than a prim and proper porcelain doll/with her keys to all the land./Oh I’d rather help the broken/Singing songs they understand/Than to sit upon a throne inside, the castle made of sand./Oh I’d rather do what I love,/than to try to fit like a glove.” Knowing what we are called to do, why we want to do and holding true to the call despite the allures of other options seems to me to key in being at peace with ourselves.


Ms. True makes a brilliant choice in “Worthwhile” by matching the lyrics to the musical rhythm – the individual ukulele strumming matches the idea of listening to the rain – music and words come together. We find succor in recognizing life’s not easy but it is worth the challenge in fully living. It’s great encouragement to recognize that we have a new opportunity each day, let’s live it. She reminds us that it is the small things that make worthwhile.

Ms. True starts with nice melodic opening to “Just the Same.” The song is an homage to true friendship, whether included in a romantic relationship or not. It plays on the notion that I will be with you, beside you, supporting you no matter what comes up. Whether it’s good weather or bad weather, good times or bad times. Even as the world and relationships change, I will still support you just the same.

“Something Beautiful” reminds us that there is no day that the Lord doesn’t care. He reminds of us His care in the world He has given to us. Despite the fact that it is fallen, that we are no longer in Eden, it retains His creative touch and His purpose.


Janelle True

Now, one of the challenges and one of the benefits of Ms. True’s singing is her distinctive voice. She is distinctive in both senses of the term: distinctive in terms of her sound and she has a distinctive voice in terms of the material that she brings to the table, the content that she sings. Clearly the benefit is that she has the ability to stand out in her singing. If you ever hear her voice, you will notice that she sings with a unique tone. In a musical world where there are thousands of good voices, having the ability to stand out is surely a great benefit for Ms. True. The challenge, however, is that when you have such a strong, rich, distinctive voice, the timing, tone and type of songs that you have as part of your musical arsenal need to vary more than for most artists. In other words, if you sing fairly similar songs because you have such an overpowering distinctive sound, the songs are going to start to sound alike. So one of the steps that Ms. True has taken with Painted Pianos is to have a little bit more variety than she had in her debut album Swept Away. However, I would love to see for Ms. True to extend even further that variety, even crossing over into different genres. That’s not to say, that the songs she has on Painted Pianos aren’t worthwhile. Indeed, each song is captivating in its own way, as we’ve seen and will continue to detail. It’s simply that for the sake of her career, given the fact that she has such a strong voice, even more variety is warranted. We’ll see a little of the focus on variety in the next three songs.

“I Am Found” is sonically one of my favorite songs of the album. The lush entrance with piano and violin really set you up for a slightly different experience from the other songs. This is an extraordinarily beautiful song of how we’re found by Someone who loves us so much that he would fight for us, that he would die for us.  When I say “fight,” I don’t mean get into a bit of fisticuffs, but rather fight death itself. The extraordinary grace that we receive from Jesus Christ are well expressed, in both sound and word in “I Am Found.”

“Forevermore” is about chesed, everlasting loving-kindness, expressed on the cross by Christ: “But now forevermore/It will always be assured/That no kings or queens or the death of me/ Not any former things or things to be/Not even height or depth or anything/Can pull me from your love.” Once again, content and vessel are perfectly match – the lyrics and music complement one another well.
A Little Bit of Everything” is sweet little song that has a slightly different beat. It’s a little more upbeat and speaks to young, genuine love. Despite the appearance of naïveté, she really knows what she’s looking for and would rather spend the time doing everything focused with that person then a bit of everything with everyone else.

“So Long to the City” is a lovely homage to country-side and to slowing down from the frenetic pace of the modern city: “So long to the city/I cannot help but share my pity/You move so fast and never slow/All your lights and your committees/Your brick and glass they’re very pretty/You build your castles to the sky.”

“Catch Me” is about risking love. We all worry about whether those we care about will catch us, if you let us fall. It is sung from the perspective of person who, too readily, gives over her heart, who possibly trusts a little too soon and thus is more easily hurt or at least more frequently hurt. Unfortunately, after having learned those lessons the hard way, she questions if should she change. Should she be more careful with her heart? Where is that balance between being foolish and recognizing that all love involves risk. We all worry, don’t we if the person to whom we give our love won’t catch us?

Oh the joys and challenges of transitioning to new seasons in our lives. We leave what we know, both emotionally and physically, and there are those moments when we really recognize that the place which we took for granted will no longer be ours. Even if I return, it and I are changed. “Belrose Drive” beautifully captures these mixed feelings and the seemingly sudden realization that what we dismissed as prosaic and old will soon become dear to us. “A corner turned/That’s where I used to learn/Right down the road/Oh how I’ve grown/And all my friends/Here since before it all began.”

I commend Ms. True’s Painted Pianos to your listening pleasure and look forward to the next phase in her career.


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