The Guardian reports that the BBC’s planning to reinvent its digital radio output around extensions to existing radio networks. In essence, it’s going to kill 6 Music—generally regarded as one of the finest digital stations, and perfectly in line with the BBC’s public service remit—and use the cash to extend 1, 2, 3, 4 and 5.

One exec was quoted as saying: “Just like the Xtra Factor goes backstage and tells you what happened at the X Factor, so Radio 2 could have spin-off digital shows with extra coverage from Glastonbury or the Electric Proms”. And this pretty much proves that once again the BBC doesn’t understand what it has, nor what it really needs to offer. 6 provides music you can’t get elsewhere, not extensions of existing coverage. And it’s hardly like existing extensions are working well anyway, with Radio 1Xtra’s Tim Westwood once famously stating that his audience share was so low that he’d been broadcasting to “absolutely nobody for the last three hours,” saying this was “soul-destroying”.

But the BBC seems to want to blunder on regardless, removing its one real piece of exciting and innovative radio and replacing it with ‘more of the same’. This is like the music industry closing every indie label but providing extra Top 40 play, and it’s just not acceptable.

If you’re a fan of 6 Music or independent, innovative music in general, email the BBC now.

I’m a staunch advocate of the BBC and the licence fee, but today I really want to ram my licence fee down the throat of the director general. This is because the rumours are true and Mark Thompson and friends have decided to axe 6 Music (source: BBC News).

In an age of increasing rampant commercialism in the music sector, 6 Music is vitally important. It focuses on relative unknowns, doesn’t tend to force playlists on its DJs, and is therefore the closest thing we have left to John Peel. For up-and-coming musicians or long-time ones who never troubled the top 10, the station is essential, and for anyone with an interest outside the mainstream, it’s without doubt the best available station.

To that end, axing 6 Music is an astonishing decision, given the BBC’s public service remit. The argument from various idiots (including politicians and, unsurprisingly, News International) is that this is the kind of thing the commercial sector should deal with, making 6 Music a waste of the BBC’s funds and, by extension, licence payers’ money. But musicians outside of the mainstream are often not commercially viable and are therefore ignored, hence why even stations claiming to champion genuinely ‘indie’ music don’t—they instead tend to focus on artists majors are attempting to thrust into the spotlight.

Phill Jupitus has described the axing of 6 Music as “an act of cultural vandalism,” which is bang on the money. Thompson argues that the report—including the removal of 6 Music—is about “putting quality first,” which doesn’t ring true when the teens-only disaster that is Radio 1 gets to live. Clearly, this is about commercial viability—in other words, 6 Music is simply seen as too expensive to justify. That the digital station is being scrapped on the basis of a lowish audience share just prior to the digital switchover is idiotic, however.

This all said, I have some sympathy for the BBC. Both the Tories and Labour are, for whatever reason, beholden to major media corporations and hang on their every word. Both use BBC bashing as a way to drum up votes among the ignorant who don’t understand the true value of the BBC. One minute, they argue the BBC cannot justify the licence fee, due to low ratings. So the BBC responds by becoming more mainstream. Then the politicians argue the BBC is competing against existing commercial product, which is against its public service remit. Today, all these things are clashing, and the BBC is somehow accused of being too niche and yet also competing against existing commercial product.

Ultimately, this is probably the thin end of the wedge. With Thompson caving, in anticipation of a BBC-hostile Tory government, these won’t be anywhere near the last cuts, and we’ve probably started on the path to a ‘shell’ BBC. While I’m sure that’ll make the Sky-obsessed, drunk on American imports, gleefully happy, this spells disaster for home-grown programming and television and radio that isn’t entirely advertising-dependent and therefore utterly aimed at the mainstream.

UPDATE: The Register reports that the BPI and indie association AIM claim “half of the music programming [on 6 Music] is never played anywhere else,” which rather puts paid to claims that 6 Music is treading on the toes of commercial competition, and that commercial competitors are best suited to championing the kind of content 6 Music plays.

“You can not update this software since you have not owned the major version of this software”

A year ago, I asked: when will the App Store learn to count? This question came from me getting App Store update notifications in iTunes and on updating ‘everything’ discovering that updates were still available. In the end, I tracked this down to there being multiple accounts on my machine—in order to see the updates for each account, I had to sign into the account, select Applications from the Library sidebar, and click ‘Check for updates’ at the foot of the Applications page.

For Apple, this is a pretty cumbersome process, but then a lot of things relating to iPhone and iPod touch sync are utterly dire from a UI standpoint (not least the dreadful Applications and Films tabs when you’re managing content on your device). However, I should have kept my mouth shut, because things just got a whole lot worse.

As of iTunes 9.0.3 (at least in my case), all ‘free updates’ for apps are now listed on a single page, but iTunes isn’t intelligent enough to figure out which accounts the apps come from. Therefore, ‘Download All Free Updates’ now cheerfully tells you ‘You can not update this software since you have not owned the major version of this software’ (nice copywriting, Apple). iTunes doesn’t bother saying which apps the dialog relates to, and so you have to click ‘Get Update’ on each individual app, to see if iTunes will enable you to download an update.

Presumably, Apple’s made this change to discourage multiple iTunes accounts on single machines. In my case, I have a US App Store account to redeem promotion codes so I can review apps and therefore promote them and the App Store. For reasons unknown, Apple has yet to realise that people outside of the US might like to have access to promo codes. However, plenty of other people use one Mac with several accounts, and so this change will trip them up, too.

So: well done, Apple. I’m hoping this is a bug, rather than a deliberate decision, but given Apple’s recent history on bizarre decisions relating to the App Store, it probably isn’t.

Thanks, Apple, for not noting which of my dozens of app updates I’ve ‘not owned the major version’ of. Also: sack your copywriter and whoever made this dialog.

The BBC reports that Odeon’s reversed its decision to boycott the upcoming Alice in Wonderland film “following talks with Disney”. If you’ve not followed this story, Odeon got narked after Disney announced it was to ignore the standard ’17 weeks to DVD’, dropping the gap by four weeks. This, argued Odeon, would screw over UK cinema chains by setting a new benchmark that would reduce their potential revenue.

Disney’s stance is that by getting the DVD out sooner, it’ll reduce bootlegging. I have two helpful hints to Disney in this regard:

1. A brilliant way to stop bootlegging is to stop screwing over the international market. If you release all of your films at the same time everywhere, rather than many of them in the US first and six months later everywhere else, people will be more likely to rush out to see them, rather than reading about them in some mag, twiddling thumbs for a few days, reading more online reviews from the US, getting impatient and then torrenting the films. Note: happily, this will also deal with the ‘disappointing international box office returns’ you keep whining about regarding Pixar films that are out on Region 1 DVD by the time they finally arrive in cinemas in the UK and elsewhere.
2. You cannot bootleg a cinema experience. It’s pretty clear that many films—including a lot of those by Disney—are as much about the environment and the big screen these days as the story. To that end, reducing the potential amount of time films stay in cinemas by at least four weeks is stupid.

Now the snappily named Windows Phone Series 7 has been revealed, it’s fisticuffs at dawn between Microsoft and Apple. Well, between Microsoft and a cardboard cut-out of Apple, because no words are coming from Cupertino (bar Steve Jobs bitching about Flash every few minutes), but Microsoft’s taking swipes at iPhone at every opportunity.

The latest snipe regarding gaming comes from Oded Ran, head of consumer marketing for Windows phone in the UK. “It’s not about whether you have 6,000 different arcade puzzle games in a specific category on your app store,” he says. “It’s about how good they are—it’s not about the number, it’s about the quality.” (Source: Mobile Entertainment.)

To be fair, I agree. Quality over quantity is always the best way to go (although I’d argue the App Store offers both to gamers), but here’s the thing: for years, Microsoft has taken the exact opposite stance regarding Apple. Windows, it’s said, is better than Mac OS because it has more apps, more devs, more support (and more exciting viruses—oho!), but now Microsoft’s in the minority, it’s playing the ‘we only care about quality’ game. Right. And I’m sure Microsoft wouldn’t change its tune at all if someone could somehow magic 10,000 games for its upcoming platform out of thin air while simultaneously deleting 99% of Apple’s App Store content.