It’s a bit like designing a four-storey train knowing full well that it won’t fit under any existing bridges without substantial modification to the bridges.
But then again, if even if you could listen to lossless audio, would you really be able to tell the difference? And given that Apple’s own headphone range (which is primarily wireless now) is intended to be used on the move – you’re effectively competing against environmental/background noise anyway.
No, the lossless format is really intended for those with decent audio equipment where you can plug it into an Apple TV or Mac (or even an iPhone). Maybe there’s potential for third-party manufacturers to make iPhone Lightning docks with the right gubbins that can output good quality Apple Lossless music.
I’m personally looking forward to seeing what they can do with the Dolby Atmos based Spatial Audio which IS supported by existing Apple headphones. It works really well and look forward to wider adoption.
The one thing that drives me completely nuts about the whole raft of current legislation against Apple from the likes of Spotify and Epic Games, who accuse Apple of market dominance is that it’s simply not true. Take for example the other day – my company organised a Zoom-based yoga session (which went very well) and the teacher provided a Spotify playlist of music. Spotify. Not Apple Music, not Deezer, not Tidal, not Napster. Spotify.
At Christmas, we were all invited to add our own recommended Christmas tunes to a shared Spotify playlist. Not Apple Music. And it should be pointed out that Apple Music’s does have a presence on Windows and Android devices, so it’s not exclusive to Macs and iPhones. Spotify’s big advantage over Apple Music is that it has a free tier versus a three month Apple Music trial. Plus, ultimately, Spotify has been established far longer than any of the other premium music streaming services.
So until shared Apple Music playlists take over from Spotify’s, I can’t see how Spotify can claim that Apple is being unfair to them. When I used to use their Premium service, I paid for it via the Spotify web site because that makes sense to me – my contract (and account) is with them. Would I like the choice of doing so through Apple? Yes, it’d be nice (and would save time – e.g. it’d be convenient), but ultimately my contract for those subscriptions are with Spotify, Netflix, Disney+, Amazon Prime Video and I pay for them directly with the video streaming provider. Interestingly, I found that a macOS software subscription to BBEdit to be .. troublesome. Apple’s system kept prompting me every so often to verify the subscription despite auto-renewal being enabled that it annoyed me so much, I just bought the version directly from the software developer.
This leads me to Epic Games. I fail to understand their reasoning for a third party store on iOS. Firstly they say 30% fee per transaction is too much. Yet Epic and other whinging developers who claim Apple is being unfair to them fee-wise don’t contest the likes of the 30% Microsoft and Sony console store fees. These are not open platforms either and strictly controlled by both Sony and Microsoft. If I wanted a fully open platform (or as open as it can be), I’d pick Linux, Windows and Android. As it stands, I’ve found the Apple ecosystem to work for me very well at a consumer and professional level. A lot of developers I work with say the same – practically everybody I know uses a Mac (with Windows being the exception).
While the iOS App Store is not perfect, it still does a pretty decent job of weeding out bad actors, though there are a few prominent cases right now which make Apple look bad – though these are few and far between and potentially a lot of stuff we don’t know about – Apple usually comes to their senses in these matters (listen, I never said Apple were perfect). What makes people think that a third-party store is going to be any better? The case against Apple is strictly a developers’ issue and not that of consumers. Do you think I like having to pay a subscription fee for Adobe Photoshop that ties me into subscribing for a full year? There is no choice of buying it outright. So don’t kid me about consumer choice.
People pick Apple for security and privacy over the likes of Google, a company that ultimately deals with advertising and sharing of personal data (although their Workspace product obviously doesn’t do that otherwise I would have got rid of it a decade or so ago). Having a third-party app store on iOS would make security a living nightmare, and possibly introduce more issues than I care to think about. Assuming for the moment that Epic Games get to put its own store on iOS and there’s a massive vulnerability in their code which could affect data stored on the iPhone/iPad. Or even worse, a piece of code in Epic’s store that, combined with a new vulnerability found in iOS, could cause a major security breach in iOS? And what if it was exploited? Who would you sue (if you’re lucky enough to be able afford to sue)? Apple? Epic? Both?
Then there’s exclusivity. Epic complains about the exclusivity and terms of Apple’s own App Store, but Epic already exerts extensive control over the in-game currency of Fortnite (to the point of compensating people in their own in-game currency after losing a lawsuit over loot boxes – remember, Epic control the value of that currency), the billing methods used to pay for it, and having sole exclusive of any sales of games and products through its own digital shop. Epic (and others) wants to dictate its own terms on a platform that’s been created, managed and supported by Apple, and from whom they have benefited considerably over the years with the macOS and iOS app stores. I firmly believe these companies do not have any entitlement to the iOS or even macOS platforms whatsoever. Epic Games’ behaviour over Fortnite has been appalling, and that’s why I’ve closed my account with them. And I’ve just done the same with Spotify too.
I find companies like Epic and Spotify to be hypocrites. They should be investing in innovation – improving their products and coming up with new ones rather than spending silly sums of money on lawyers across the world. Lawyers are the only ones who going to make any money out of all this nonsense, and I can think of much better things to spend that money on.
That, apparently, is the sound a woman makes while riding a pushbike when she’s in a hurry and must get across town before the sun goes down, looking pretty as she’s pedalling along, singing that song.
Well, there must be a lot of hills wherever she lives to make those kinds of noises. Or she’s really, really out of shape.
The Pushbike Song is a bit of an oddity in the history of music. It’s bubblegum pop meets skiffle. It’s catchy, but can you really dance to it? The main chorus sounds like somebody’s either pleasuring themselves or an orangutan enjoying a really good fizzy drink (but wouldn’t that be ook! ook!?) Or possibly both (an orangutan drinking a fizzy drink whilst pleasuring somebody? The mind boggles.)
And while it’s already gone past its birthday (December 1970), on the 31st January 1971 it reached the number 2 spot in the UK charts.
And yet (incoming pun alert), many people mix up the original band, The Mixtures, with Mungo Jerry. Mungo Jerry’s In The Summertime came out first, and The Pushbike Song was a kind of answer to that. There’s a tonne of information about it over at Jon Kutner’s blog. Ray Dorset of Mungo Jerry eventually covered The Pushbike Song back in 1990.
For me, I first heard it back when I was about 5 or 6 years old. And it wasn’t The Mixtures version either. There have been a number of covers over the years, and I had a green tape of various singles that either my mum or dad had put onto tape of various pop tunes. After many years, I found out that these were from a series called Top of the Pops and employed session musicians to cover popular songs at the time.
I think the first time I heard the original Mixtures version during a spot on BBC’s That’s Life about a dog that likes riding a bicycle. Of course, the dog can’t actually pedal the bike, but he liked hanging on to his (or her) master’s shoulders. In other news:
In terms of covers, there have been a few over the years. Some good, some absolutely bloody terrible. Anita Harris produced a version in 1974 – perhaps the second female singer to cover the song after the Finnish band, Toomapojad who bypass singing the chorus completely, and the whole song has to be performed super fast for some reason:
Meanwhile, in Anita’s version, the chorus (ooh, ooh, ahh part) was manipulated to make her voice much deeper – presumably to become male – but ended up sounding like an 800-pound silverback gorilla with a terrible hernia who just learned that his wife is having an affair with a chimp. As one CD cover note mentioned, it sounds as if the backing singers (aka Anita herself) were pleasuring themselves. The producer of that version really ought to have left the creative decisions to somebody else. Anita has a lovely voice throughout otherwise, and it should have been left well alone from audio engineers fiddling with their knobs (ooer-missus).
But if you want the worst ever version of the Pushbike Song, and it pains me to say this, you need to look at Olivia Newton-John. Yes, she covered it, but then it was put through a blender and out came electronic slop. She has clearly sung some parts of it, but the majority of it is her repeatedly and randomly spewing “hey!”, “shh!” “ahh!”, saying “pushbike”, and in a vocoder/auto-tuned voice, “riding along on a pushbike honey, when I noticed you” over and over again.
One could argue this version is danceable (if having taken a substantial amount of illegal drugs), and maybe even good for working out. But it is an abomination for anything else. It’d have been nice to have heard what Olivia could have done with the original version had it not been turned into a rave (as in stark raving mad) track. Such a pity.
Another band called The Great American Disaster released a version and feels a great deal more traditional skiffle than the original Mixtures version. The washboard comes out in full force (as an accompaniment and as a sound effect), the banjo replaced with a piano, and some beatbox/cymbal punctuation action. Melodically it’s one of the more interesting covers, though it gets the lyrics wrong at one point.
These are only a few select cover versions, and there are plenty more out there including TV covers (I remember Cilla Black coming out with a version for her Surprise! Surprise! TV show back in the ’90s as part of a “cillagram” – I just remember it being very odd).
But with electric pushbikes coming out in force, there will be no further need to make silly noises while riding bikes. But that kind of takes the fun out of it.