http://www.opera.com/products/dragonfly/">http://www.opera.com/products/dragonfly/
Debug JavaScript, inspect CSS and the DOM, and viewany errors – Opera Dragonfly makes developing using Opera easier thanever, both on your computer and mobile phone. Check out our alpharelease for a taste of things to come.
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Reach breaking point step by step
opera.com/img/products/dragonfly/debugger.jpg" border="0" onLoad="SMR_resize(this);" />OperaDragonfly's fully featured JavaScript debugger makes buildingsophisticated Ajax applications easier than ever. Step through yourcode line by line, setting break points along the way. This allows youto make sure your application and scripts are acting as you designedthem.
Redefine your style
opera.com/img/products/dragonfly/css.jpg" border="0" onLoad="SMR_resize(this);" />Itsnot just the DOM you can inspect. Check out what CSS rules apply towhich element, and what rules are inherited or set by browser defaults.Overridden rules are highlighted so you can see what styles are oraren't applied. Support for editing CSS rules will be added in anupcoming version.
Think open and free
Built using theopen web standards you know and love, Opera Dragonfly’s source isavailable to view. Not only that, but it is released on a open sourceBSD license, meaning it is free as in freedom and well as in beer.
Always up to date
OperaDragonfly is a new breed of hybrid application. Part desktopapplication, part web application, it resides in local persistentstorage, yet instantly updates when a new version is released – justlike your favorite web sites. You never have to check for updates orinstall a new version.
Debug your phone or TV
Debug pageswhether they are on your computer or a supported device, such as aWindows Mobile phone running Opera Mobile 9.5. You can connect to anydevice running Presto Core-2.1 or above, and debug using yourcomputer’s screen and keyboard – no need to struggle inputting testdata with your phone’s keypad again.
Spot your errors
opera.com/img/products/dragonfly/error.jpg" border="0" onLoad="SMR_resize(this);" />Animproved error console allows you to see, filter and log any errors inyour scripts, pointing to the exact position the error occurred. Usethis in combination with the other tools to hunt down and fix yoursite’s bugs.
Debug the DOM
opera.com/img/products/dragonfly/dom.jpg" border="0" onLoad="SMR_resize(this);" />Viewsource isn’t much use if you use DOM Scripting to alter the DOM. OperaDragonfly allows you to inspect the updated DOM and all it'sproperties. Support for editing the DOM will be added in an upcomingversion.
Coming soon
The initial alpha release is justthe beginning. Opera Dragonfly has a fully featured road map, includingsupport for editing of CSS, JavaScript and the DOM, a single windowmode, improved JavaScript thread handling, XHR and HTTP monitoring,improved keyboard navigation, and translation into a number oflanguages.
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Here's a challenge: name a virtual world where players can act outthe parts of different people in a facsimile of real life. What's itcalled?
Given the hype in recent years, you might be forgiven forsaying Second Life. Or, since it has commanded headlines this week, youmay have pondered Grand Theft Auto and its incredible copy of New YorkCity. But how many would have suggested The Sims?
Last monthElectronic Arts announced that it had sold more than 100m copies of thegroundbreaking franchise, which offers players of all ages a chance toindulge in their own sugary duplicate of life.
Despite itsenviable position as the best-selling PC series of all time, The Simsremains something of an outsider to the gaming community. That's notsomething that troubles the people behind the curtains, however.
"Wedon't worry about respect, or the position of the game in theindustry," says Nancy Smith, president of the Sims label, from herSilicon Valley headquarters. "We know we attract creative people of allages and both genders."
Unprecedented success
While someof the game's sales are doubtless driven by the unending river ofadd-on titles, the numbers point to unprecedented success. Indeed, TheSims and all its spin-offs are so profitable that the game commands itsown label inside EA, the industry's largest publisher, as well as astaff of 350.
The numbers elsewhere are equally impressive. "We've now got 4.5million players who come monthly, and we've had 70m downloads ofplayer-created content," says Smith. "So much of the creativity comesfrom the players - just look at the 100,000 Sims movies posted onYouTube."
Thatsubstantial team and all the resources they have are now being put intoa plethora of new projects, including Sims on Stage (a sort of virtualkaraoke), Sims Carnival (a build-your-own game environment) and TheSims 3, predicted to be the game's most realistic iteration yet.
Thefact that the franchise has spread out in so many directions surpriseseven Rod Humble, the expat Briton who heads up The Sims studio. "If youthink back to when The Sims launched, as a game design it was utterlyinsane," he says. "There was no end, there no win or lose - but itabsolutely fitted with a 'what if' scenario that we all have in ourheads."
Back then, at the turn of the millennium, the project waschampioned by its creator, Will Wright. He has now moved on to anotherproject - the much-anticipated evolution game Spore - but at its heartthe Sims has remained the same. Along the way it has been a core partof the rise of so-called "casual gaming" - typified by Nintendo's Wiiand a plethora of web-based games. Humble quietly disagrees with the"casual" monicker, however, and suggests that there is more going onthan just a widening market.
"I think the 'casual' label is pretty much meaningless now," he says."You've seen a big shift in perception ... it's got to the point nowwhere we're on our own, and we're able to do all sorts of things interms of mass entertainment and themes. A few years ago I don't thinkpeople would have thought about a game where you run a business or havea family."
Reallife, he suggests, is "pretty easy to think about" and allows anybodyto understand and interact with the game. "These aren't the things youusually associate with videogames - they wouldn't be out of place in aTV show."
Therein lies The Sims' greatest selling point - butalso its biggest challenge. The true competitors that it faces are notfrom the videogaming world, but from other forms of mainstreamentertainment - social websites such as Facebook or MySpace, perhaps... or even television itself. "The Sims is played - sometimesobsessively - by people who don't regard themselves as gamers," Humblesays. "It's the same way that people who watch TV don't think ofthemselves as TV-watchers, they are fans of their favourite programme."
Entertainmentmoguls of all stripes know how fickle audiences can be. Whether it'sdropping one social networking service in favour of another, orswitching off their favourite long-running soap opera, past success isno guarantee for the future. And, of course, there is nothing toprevent a competitor coming up with a more enticing offer.
Rewards of risk
Thatis something Humble knows only too well - his last job was at Sony,heading up the successful online roleplaying game EverQuest. Until afew years ago, EQ was the number one name in the genre ... until Worldof Warcraft came along and, in a flash, took over the market.
That'swhy Sims 3 (due for release next year) is crucial and, Humble implies,exactly why his team is trying out so many new ideas while they can.
"Creatively,our success puts us in the position where we can do more. We'veactually become more risky because we've already got this establishedbase to work from," he says. "You're guaranteed that people will lookat it, even it it's a flop." |
A webmaster's work is never done. What may have worked a few years ago when could be outdated today, so it's important to constantly improve your Web site. However, a massive overhaul is just too much work to undertake at one time. Instead, tackle these quick fixes over time, and you'll be able to improve your Web site with minimal pain.
Copywriting
Content, specifically text, is perhaps your site's most important asset. Make sure that it's up to snuff by following these improvements.
- Tell readers why they should perform a task. If your site is full of passive suggestions, toughen it up. People are trained to follow a request, as long as you give them a good reason to do it.
- Make the most highly trafficked pages easier to scan. If your current site consists of large blocks of text, break it up so that it's easier for the average Internet user to read.
- Convey a sense of trust. If you're experiencing skepticism, offer social proof like testimonials or risk-mitigating offers like a free trial.
- Stress benefits. Ensure that your copy always shows users exactly how your site will benefit them.
- Make headlines meaningful. Be sure to change any vague or cutesy headlines to something more up-front and meaningful.
- Repeat yourself. Check over your copy to make sure that you're really driving the point home by making it in a number of ways.
- Tell visitors what to do. Revise your site to ensure that people know exactly what the next step is. If you want a visitor to click a link, tell them
- Keep the reader engaged. Make sure that your current content gives visitors a reason to keep reading throughout the entire piece; otherwise, you need to spice things up a bit.
- Stay consistent. Check your copy for consistency, or else your site may be seen as unstable or flighty.
- Stay simple. Simplify your message simply to avoid confusing visitors, while at the same time improving conversion rates.
- Structure content persuasively. Restructure your content so that it's more focused, specific and credible.
- Offer social proof. Seek out testimonials and case studies to show just how effective your services are.
- Keep offers simple. If you're offering lots of different options, pare them down.
- Make an offer that visitors can't refuse. Check out your site to make sure that you're giving your visitors a reason to pick your company out of an overcrowded field.
- Avoid making hollow promises. Check out your guarantee, and ensure that you're backing it up with something of substance, like a money-back guarantee.
- Keep each block of text to a single topic. Make sure that your text isn't too overwhelming with many different thoughts in one place.
- Offer comparisons. Make it easier for your reader to understand and relate to your business by offering metaphors, similes and analogies.
- Be concise. Make sure that your copy is only as long as it needs to be to get your point across reasonably.
- Go with what works. Study other copywriters to adopt the words and methods that have worked for them. Customize these words and phrases until they become your own.
Usability
If your site isn't usable, visitors will not stick around. Take these small steps, and you'll have a more user-friendly site that's ripe for conversions.
- Add a short "about" page. Put a real person behind your site by allowing your visitors to learn a bit about you.
- Make navigation consistent. Make sure that your site's navigation is on the same place on each page so that visitors don't get confused.
- Make text links clear. Be sure that your links are descriptive enough so that visitors know exactly where they're going.
- Use underlined link text. Get rid of your fancy link navigation. Visitors expect to click underlined links. If you dislike underlines, use CSS (Cascading Style Sheets) to employ a different method of highlighting, like a different text color or font.
- Never ask for more information than you need. If you're currently asking for excessive information, rethink your data-mining tendencies. When you get greedy for data, you'll turn off some visitors.
- Always have text links. Although your JavaScript menu might look great, some browsers and users have JavaScript disabled.
- Have a text-based site map. With a text-based site map, lost visitors can find their way, and you'll make it easy for search engine spiders to find your pages.
- Link the site logo to the home page. Visitors will expect your logo to link to the home page, so make it easy for them to find it.
- Add a search box. Are your current visitors lost? Make it easy for them to find exactly what they're looking for with an internal search box.
- Use plenty of contrast. If text seems to melt into the background, change things up and make your text easy to read by using colors that highly contrast one another.
- Customize the error page. If you have a standard set of error pages, you need to step things up. The error page should not only reflect your site's design but also provide useful links that will get your visitor back on track.
- Ask for feedback. Create a contact form that makes it easy for customers to speak with you about your site.
- Test the site on real users. Ask regular people to navigate your site to find usability problems.
- Create specific landing pages. If you want to sell, make sure that you have landing pages for specific campaigns and that each of those pages has a purpose.
- Add more internal links. If you'd like to get more traffic to your income-producing pages, add some internal links to your most highly trafficked pages.
Search Engine Optimization
Follow these tips if you'd like to see an improvement on your search-engine rankings.
- Replace underscores with hyphens. In search-engine results, words separated by underscores will run together, while hypens will create a space between each word.
- Implement 301s to consolidate page rank. If your site lives on both non-"www" and "www" domains, redirect one to the other in order to consolidate.
- Add a dynamic meta description. Make sure that your meta description makes sense so that your excerpt in search-engine results is more appealing.
- Use heading tags. Let search engines know what's important by highlighting titles and more in header tags.
- Update content often. Give search engines a reason to keep coming back with fresh content.
- Ensure that your host is up to snuff. Make sure that your host is providing maximum uptime so that your site is visible at all times.
- Create a robots text file. Make life easy for crawlers by creating a file just for them.
- Make sure that your domain is brandable. If your name isn't easy to say or remember, you need to find something that is.
- Build link popularity. Actively seek out relevant, inbound links to your site to build trust and profile with search engines.
- Turn off music. No one wants music to greet them every time they click a link, so turn off the music — or at least offer an easy option for disabling it.
- Give pages real names. For example, if your page is about red widgets, its filename should be, or at least include, the words "red" and "widgets."
- Take off the black hat. If you've used tactics like keyword stuffing, remove them from your site. They may be working now, but in the long run, they'll only hurt.
- Open up the drop-down menus. Let your user see all of the navigation options available, or you'll confuse them.
- Ditch registration. Don't turn off users by forcing them to register to access content.
- Ditch frames. Frames are horrible for search-engine optimization and design in general. Just stay away from them.
- Fix broken links. Don't send search engines and users down dead ends. Clean up links for better search-engine optimization and usability.
- Avoid resizing the user's window. Let the user be in control of their browser, or your site will lose credibility.
Accessibility
If your site isn't accessible, you could be making things frustrating or even impossible for visitors with disabilities. Take these steps to make your site more inclusive.
- Create accessible forms. Make sure that your forms can be filled out by all visitors.
- Specify spacer images as empty. Make sure that nonvisual browsers know to ignore your spacer images by noting them as empty.
- Set captions on tables. This will ensure that your captions render correctly even in visual browsers.
- Modify color. Ensure that pages are readable by using appropriate colors.
- Summarize tables. Add a summary of tables so that visitors with screen readers will understand what they're all about.
- Provide real lists. Use list tags to ensure that lists render correctly for disabled browsers.
- Remove text from images. Using image text will make it difficult for those using screen readers to read text.
- Offer an alternative to JavaScript links. Many browsers for the disabled don't support JavaScript, so make it easy for them to have access to "real" links.
- Identify the language. Screen readers need to know how to pronounce words, so let them know what language your site's content is in.
- Add titles to links. Ensure that links are descriptive enough for visitors by adding link titles.
- Create accessible tables. Make sure that tables are accessible to all by using scope, header and ID attributes.
- Allow text resizing. Make it easy for readers to resize text if necessary.
- Supplement navigational aids. Offer additional navigational aids to help visitors who use text-only browsers.
- Define keyboard shortcuts. Set up keyboard shortcuts so that disabled users can navigate your site with ease.
- Provide alternate text for images. Alternate text will let disabled visitors know what images represent.
- Set a document type. Let readers know what sort of programming language your site uses so that content can be displayed correctly.
- Present content first. Make sure that text-only browswers aren't being presented with your navigation before main content.
- Set horizontal rules. Instead of just using an image to break up your pages, use horizontal-rule tags and CSS to display them properly for disabled users.
- Accessible pop-up windows. If your site uses pop-up windows, make sure that they're accessible.
- Create meaningful page titles. Make sure that your site's page names make sense for their content.
Design
Spruce up your site's appearance using these design fixes.
- Place important information "above the fold." Move your most important content high on the page so you can be sure that visitors will see it.
- Keep background colors and images at a minimum. Backgrounds are often less than visually appealing and can make your site load slowly.
- Reduce choices. Avoid overwhelming your visitor with lots of different options.
- Design small. Cut your Web pages down to 50KB or less so that they load quickly for anyone.
- Nix banners. Abandon banners for a more effective design element, or they'll be ignored.
- Stay consistent. Check to make sure that colors and design are in the same general scheme so that visitors know they're still on your site.
- Validate design in alternative browsers. See how your design renders in browsers like Safari, Opera and Firefox to make sure that it looks right no matter who is viewing it.
- Minimize columns. Reduce columns to avoid distracting the reader with excessive visual choices.
- Lose the splash page. No one wants to sit through a fancy Flash introduction. Replace it with a helpful home page instead.
- Create a tagline. Stand out with a striking tagline that will draw visitors in.
- Ditch frames. If your site uses frames, you need to move on to another method, like CSS or SSI (Server-Side Includes).
- Make sure that text outnumbers HTML. Provide good content with text rather than HTML.
- Slow down the technology. Although you may have state-of-the-art computers, many of your visitors don't. Get rid of memory-hogging technologies like JavaScript.
- Remove link cloaks. Make sure that your visitor knows exactly where they're going, or you'll lose credibility.
- Limit each page to one topic. Give each page a singular purpose to avoid confusing visitors.
- Ditch crazy fonts. If you're using a ransom-note font, it's time to switch to something simpler. Chances are, your visitors' browsers are rendering it as Times New Roman anyway.
- Reduce your graphics. Graphics not only slow pages down, but they also steal attention away from what's important: content.
- Add functional links to the footer. Make it easy for visitors to find contact information or your privacy policy just by scrolling down.
- Standardize link colors. Make sure that users know which links they've visited and which they haven't.
- Update information. Put on a fresh coat of paint with a new header, logo or other design element.
- Convert PDF files to HTML. Make browsing flow a little smoother by converting PDF files to a format that's more easily readable in a browser.
Legal
Keep your site safe and protect your content using these improvements.
- Update the privacy policy. Ensure that your site's privacy policy fully discloses everything it should.
- Revise "deep" links. Update links so that they point to the home page of a site rather than a specific page, or make sure that you're attributing them correctly.
- Legitimize images. If you're using images that you don't legally own, it's time to update them with your own images or those that you've purchased.
- Pay taxes. If you're making money from your site, it's a business and is taxed as such. Take care of your taxes or you could end up in hot water with Uncle Sam.
- Protect content. Keep your content safe from thieves by copyrighting it and taking steps to shield it from unscrupulous eyes.
- Form a legal entity. Get liability protection by forming an LLC (limited liability company) or other formal legal entity.
- Register a trademark. If you own your domain name but not a related trademark, a trademarked entity with the same name could take it from you, so be sure to register it before someone else does.
- Store a Web site cache. Keep a copy of your site handy in case of copyright disputes or loss.
- Revise the email campaign. Make sure that your email campaign complies with the CAN-SPAM Act.
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Apple's Safari, Mozilla's Firefox 3, and Microsoft's Internet Explorer 8
Back when the earliest programs for viewing Web content simply browsed flat pages of images and text, the name browser truly fit the software.
Butyesterday's amateur pages have evolved into dynamic, content-richportals and powerful online programs. For many online habitués, thedo-it-all browser has become a PC's single most important program.
Recognizingthat fact, Apple's Safari, Microsoft's Internet Explorer, and Mozilla'sFirefox are battling to win the nod as your browser of choice. So whichone should you use--Safari 3.1, Firefox 3, or Internet Explorer 8?
Apple's latest offering, Safari 3.1, preserves the company's signature focus on clean design and smooth usability, but it lacks any phishing or malware filters.
For its part, Mozilla should have applied the finishing touches to Firefox 3 by the time you read this (I tested the feature-complete beta 5 release). From under-the-hood memory improvements to a major reworking for bookmarks, version 3 represents a big step forward.
Whereas the new Firefox and Safari browsers are ready to roll, Microsoft's early beta of Internet Explorer 8remains a work in progress. Bugs and rough edges are to be expected ina first beta intended for developers and testers. But IE 8 beta 1provides a glimpse of new features such as WebSlices (which let sitescreate widgety snippets of information that you can view by clicking abookmark button) and Activities (which add right-click menu options forlooking up selected text and pages on map, translation and other sites)that will distinguish the browser Microsoft eventually releases.
Firefox,IE, and Safari are the three most popular browsers, according toInternet usage statistics, but they aren't the only ones available. SoI also took a separate look at two worthwhile, free programs--Flock and Opera.SRI |
Quote: | Early versions of the service will be available from 9 April but morepolished software will be released as the service is developed. |
The BBC has announced that its BBC iPlayer will shortly be available on the Nintendo Wii console.
The BBCi Player offers users content from multiple BBC TV shows and channels, including News 24 and the BBC's radio stations.
"Workingwith Nintendo marks another exciting milestone for BBC iPlayer,"commented Erik Huggers, group controller for Future Media andTechnology at the BBC.
"It underlines our commitment to reaching new audiences by making BBC iPlayer available on as many platforms as possible.
"TheBBC's catch-up TV service can now be accessed on an increasing numberof different platforms - from the web and portable devices to gamingconsoles. It will shortly be available on TV."
Last month the BBC rolled out the service to Apple's iPhone and the iPod Touch.
AlthoughWii owners currently have to pay a one off fee to install the InternetChannel, the BBC has said that it is looking at ways to make theiPlayer service free in the future.
"This exciting alliance withthe BBC is yet another way in which Nintendo is looking to broaden themarket for its products by offering compelling and relevant content tofamilies," added David Yarnton, general manager of Nintendo UK.
Quote: | "BBCiPlayer on Wii will offer Wii owners another reason to turn theirconsole on everyday and adds to the already established non gamingcontent on Wii that includes news and weather channels and an internetbrowser." |
The BBC's Video on Demand service, iPlayer, will be available toNintendo Wii users through the bundled Opera Internet Browser; thecurrent version lacks all the bells and whistles that PC users canenjoy.
But the Beeb has promised that an updated version will come in a fewmonths which will make the Wii, yet another outlet to watch programmesvia the popular iPlayer.
It is not surprising that the BBC haschosen the Nintendo Wii (rather than the Xbox 360 or the Playstation 3)to deploy the iPlayer given Microsoft and Sony's reluctance to reducetheir stranglehold on whatever content goes into their gaming console.
For Nintendo, it is yet another win, albeit a small one, consolidatingits status as the most popular next gen gaming console in the UK. Nonews as to whether Channel Four will look into doing the same thingwith 4OD.
Obviously, a broadband connection is needed, something that will pile even more pressure on ISPs.
More than 17.2 million BBC programmes have been downloaded or streamedvia the iPlayer in March 2008, that's a staggering 25 percent increaseover the previous month; at this rate, the 100 million programmesstreamed or downloaded barrier will be broken in August.
Importantly only UK-resident license-fee payers are allowed to use theservice, so you'll be entering your post code (or if you're dishonestthat of someone who does pay) to use the service. Anyone havingimported a console from another country will probably have to miss outon this too - that's the price of getting a Wii in the face of UK stockshortages.
Given the undeniably greater popularity of the Wii compared to itsrivals (in some ways at least) the PlayStation 3 and Xbox 360, it makessense that Nintendo's console would be the first to see such a service.No information is yet available as to the potential availability of aPS3 or Xbox 360 equivalent, but it seems likely that the BBC would atleast be considering it.
So what are you waiting for? Get refreshing that Internet Channel readyto start watching your favourite programmes on your favourite consoleon-demand.
via BBC |
Verdict
When you head into luxury product territory, the usual value formoney benchmark becomes less significant to the buyer than thedesirability factor. Does the 8800 Arte or Sapphire Arte justify such ahefty price tag? Unquestionably, Nokia has used premium materials thatgive a reassuringly expensive, high quality – and weighty - feel tothese devices. The design is understatedly elegant too.
The under-the-bonnet features run-down wouldn’t convince us to spankour credit card, however. They have a reasonable set of functions, butmost of these you can get on other Nokia Series 40 phones at half theprice. Sure, they have 3G, a 3.2-megapixel camera and 1GB of memory -but as we found, you don’t get the latest cutting edge mobiletechnology despite the expensive price tag. And there’s no HSDPAhigh-speed 3G, face-to-face video calling nor expandable memory - andthe camera is limited. Socketry and earphone arrangements aren’tconvincing either if you want to play music.
There are two web browsers to utilise the 3G capability, the Nokianative one, and the impressive Opera Mini browser Java application,which also provides Yahoo! search and Wikipedia plus Dictionary.comquick search options. Web browsing is swift with 3G and downloadingcontent is speedy too, even without a HSDPA boost.
Nokia’s WidSets application comes pre-loaded, enabling you to getRSS-based updates on a set of onscreen widgets. This enables you to getweb-based updates from your favourite blogs and websites without havingto actively browse each time you want to check.
That's a real sapphire in the Sapphire
Nokia’s usual organiser functions are included – calendar, to-dolists, notes, calculator and various timer and clock functions – plusconvertor and translator apps. A voice memo function, speakerindependent dialling, voice commands and a text-to-speech convertor areincluded too. Naturally, the email facility includes support forregular attachments.
A Golf Tour game is loaded up for downtime amusement, while Nokia’susual Download! app also offers a range of other games and content youcan download for free or for a fee.
Top marks for the Nokia 8800 Arte’s call performance – it producedexcellent quality sound and maintained signal levels commendably well.Estimated battery life is quoted by Nokia as giving up to 300 hoursstandby, or talktime of 3 hours 20 minutes on GSM networks or up to 2hours 45 minutes on 3G WCDMA 2100 networks. That’s a typicalperformance for this spec level. In practice, we found ourselvesreaching for the charger after two days with moderate usage. Thatdesktop charger should come in handy, then, for heavyweight phone users.
Product
Nokia 8800 Arte and Sapphire Arte
Verdict
Credit crunch - what credit crunch? Nokia aims for the hearts and wallets of the money-no-object mobile buyer
Rating
80%
Suggested Price
Nokia 8800 Arte: contract: £200-£400 handset only: £680, Nokia 8800 Sapphire Arte: handset only: £1050 |
The Barbican can pack in 2,000 people for a concert. Almost 3,000 classical-music fans can squeeze into the Royal Festival Hall. And Brixton Undergroundstation? 30,000 pass through it every day - and all get a loud blast of theclassical stuff whether they like it or not.
Quietly, steadily and, if not secretly, then certainly stealthily, LondonUnderground is rolling out a compulsory classical diet. And it's joining agrowing group of local authorities, transport companies and evensupermarkets across the country. The idea? If we are all stressed out, weneed calming down. And if we are antisocial yobs looking to cause somebother and steal Travelcards, we need moving on. Somehow classical musicseems to fit the bill in both cases.
Perhaps this is why Brixton is already well used to it, as I discover whilethe blast of Schubert's Unfinished is throbbing through the ticket office ona Tuesday lunchtime. The station first got plugged in more than four and ahalf years ago, a test site to see whether the embryonic scheme deservedexpansion. Clearly it seemed to do the job; as of the beginning of this year40 stations have now been equipped with the necessary kit, and they rangefrom the positively genteel (West Brompton) to the Wild East of the DistrictLine - Dagenham, Upton Park - alongside more mixed South London spots suchas Balham and Morden.
Perhaps this tuneful invasion really is as unremarkable as Transport forLondon protests. “It wasn't really a big policy, but we rolled it out whenit was expedient to do so,” says Richard Parry, TFL's director of strategyand service development. He's armed with statistics from satisfied punters,who, he says, feel happier. Less stressed. And, yes, calmer. “Our researchsays that 80 per cent plus say it makes them feel more relaxed, and 85 percent plus that the music improves the general environment of the station.”The research Parry refers to was conducted by TFL in 2006, when commuterswere questioned at five stations across the network.
Somewhere along the line, however, the official narrative changed. When thefirst Underground station (Elm Park, on the District Line) got hooked up toclassical, this was a story about crowd control. “We can't claim it was anoriginal idea,” Parry concedes. “We knew it was tried in differentenvironments. One we looked at was the Tyne and Wear metro.” The back storythere, widely reported at the time, was of vandalism down, problem teenspushed off to bother someone else.
Brixton is certainly an unthreatening place, despite its reputation. “There'sso much crime around and I think it's receded,” says a local resident, LisaMartin. “People aren't really hanging around as much as they used to, 'cosclassical music's not really their vibe, is it? It's a psychological thing,isn't it?”
Well, perhaps. With the scheme now being extended to middle-class oases suchas West Hampstead, the official line now from TFL is that this is nothing todo with crime or psychological pressure and everything to do with“environment”, “ambience” and “care”. It's also about another C-word -control.
“We want to give people a greater feeling that someone is in control, makingthings secure and safe,” Parry says. “It's certainly not there as a bigdeterrent.” Hence station selection is not based on levels of crime, butsimply limited to those sites that are not too central (too many people, toomuch confusion) and do not have an interchange (for the same reason). Parryalso confirms that the music is played only in ticket halls rather than intrains (where we couldn't escape) or platforms (where we need to listen forimportant information). It's the same argument that he uses to avoid theaccusation of creating a Big-Brother-style network where our eardrums aremonopolised by a loudspeaker.
But if it's trying to show control, it's slightly surprising to find out thatTFL doesn't actually have anything to do with the mechanics of the operationat all. When it co-opted the system that the Tyneside metro was using, itasked Metronet, then in charge of the District Line, to find a subcontractorwho could supply the technology. What it came up with, installed andcompiled by an agency called Broadchart, now plays itself; the only controlthat station staff have is how loudly they play it.
“People are always saying: ‘Who chose the music?'” grins Mervin Russell, thestation supervisor at Brixton, “and we have to say: ‘It's not us, it justcomes on automatically at 4.30 in the morning.'” At midnight, apparently, itswitches off. Faintly spooky? I thought so, if only because Metronet is nowin administration, but its commissioned iMix still pipes through itsstations like a creepy memento mori.
Surprise number two: the 40-hour tracklist. OK, the use of rights-freerecordings means no Modernists - still in copyright - so no Ligeti, noStockhausen, no Adès. But hang around long enough and you'll find an obscureRimsky-Korsakov suite, Antar, the Meditation from Berlioz's La Mort deCléopâtre, and a slice of Haydn's practically unknown opera, La fedeltapremiata. I think you'd struggle to hear any of these on Classic FM even ifyou stayed tuned in for 400 hours.
But the naysayers have a point. What does it matter what's playing when theintention is just to make a relaxing background vibe? “It's nice for musicto transport, to take you somewhere else,” one middle-aged male commutertells me, ignoring the apocalyptic fury of Verdi's Requiem thundering aroundhim. The other leitmotif from my straw poll is that if classical music doesmake anyone think beyond a fuzzy sensation, then it's a vague associationwith film music. “I find it cinematic rather than calming,” says JamesKhoury, who says he's “getting into classical music”, but, no, he wouldn'ttry to buy any of the music he heard on the Underground “because I wouldn'thave a clue what it was”.
One stubbly thirtysomething in jeans and an overcoat bucks the trend. He knowswhat's playing - a movement from Beethoven's Seventh - and he doesn't thinkthat this explosive masterpiece is the auditory equivalent of Temazepam. Apity, then, that this is Tom Service, classical-music critic for TheGuardian, whom I bump into by coincidence on his way home. “What thisreveals to us is the tragedy of listening,” he says. “We are now so inuredto classical-music effects that we can't hear this as fiery music, we simplyhear the effect of the classical brand.”
That's music to the ears of Graham Sheffield, artistic director of theBarbican, chairman of the Royal Philharmonic Society and now spearheadingHear Here, a campaign to encourage better listening to the sounds around us.“It's real music that one wants to hear, not aural pap. It may have aninstant impact but after a while people will cease to notice it's there.”
They're both right, in a sense. Isn't it degrading to the composers flung intothis jumble to simply be labelled “classical music”, prescribed in a bigenough, noisy enough dose to make us all worry less about signal failures?But, again, perhaps functional music does have a valid place, particularlywhen its audience seems so mollified by it.
Listening in Brixton station to Wagner's overture to Rienzi - a rarity thatsomehow crept on to Metronet's iPod - I find it hard to sign up to thecynics' camp. As Sheffield points out, there is always an audience who'llgive classical their full concentration. “The commonly held view is thatpeople can't listen any more. I was in the Royal Festival Hall listening toDaniel Barenboim. For 25 minutes, in the slow movement of a Beethoven sonatayou could feel 2,500 people really listening, not a single cough.” Are those2,500 more hurt by Berlioz on the Bakerloo than the degree by which the 80per cent are cheered up by it?
Maybe the two worlds could meet. The Barbican and the RPS could adapt the listof Tube classics, perhaps bringing in the LSO's live recordings to give alocal connection. Electronic display boards could tell us more about themusic that we were hearing. “It would be nice if they changed the list everyso often,” says Russell wistfully, perhaps thinking about the number oftimes he has heard Schubert's Unfinished, unfinished. Then his eyes flickback to the delays board, and his hand reaches for the volume knob.
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