*michael parekh on IT*

ON A VIDEO HOMAGE RE-IMAGINED

ROCKS AND ROLLS

One can't be too sure about most things these days, but one thing that is almost a sure thing is that the query "#TBRB" is going to be one of the top trending topics on Twitter within a day or two of September 9th.  TBRB, as Dan Neil of the LA Times explains, stands for "The Beatles: Rock Band", and

"... will consume much of the industry's advertising bandwidth this summer ahead of its Sept. 9 release.
A collaboration between MTV Games' Harmonix and the Beatles' Apple Corps Ltd., TBRB -- which had its press debut at the E3 gaming convention in Los Angeles this month -- lets players stand in the Beatles' pointy Italian boots, singing and playing along on peripherals fashioned to look like Paul McCartney's Hofner bass and Ringo Starr's Ludwig drum kit. That's coolness measured in Kelvins."

The reason this piece merits a complete read in my view is this description of how the game is introduced to millions who are both familiar, and not too familiar with what made the "Fab Four" so cool:

"Summing up the Beatles' story is no easy task, and yet -- as per the conventions of video game design -- a summing up of the story, a reprise of the narrative world, must be built into the game itself. These mini-movies are called "cinematics," and they usually appear when the game is booted up. They are also crucial parts of a game's advertising campaign, amounting to online commercials that air endlessly and freely on YouTube and Hulu. These films are a rare instance of meritocracy in advertising art; the better they are, the more they get watched.
For TBRB, Harmonix called on London's Passion Pictures and director Pete Candeland, who have created one of the most beautiful and compelling animated sequences I have ever seen, a pocket masterpiece that in its surrealistic bravura is worthy of "Sgt. Pepper" and "Yellow Submarine." It's also startling in its economy, telling the Beatles' saga in 2:45 minutes. Not bad for a video game."

He goes on to describe in detail how this piece is laid out, and is worth reading even though it may be a bit of a spoiler when we all get to see the clip on YouTube, and when the game is out.   Sounds like it's quite a bit of work, and does it's subject ample justice.

ON LIVE PRODUCTIONS GOING DIGITAL

THAT'S SLOW BIZ

One of the last bastions of entertainment may finally be dragging itself slowly but surely, from the real world of live performances on to our TVs and eventually onto the internet.  As Variety reports in it's own lingo:

"As legiters seek footholds for old-fashioned live entertainment in the world of new media, the Metropolitan Opera has struck a profitable balance between stage and screen -- and theater orgs have begun to take note.

"The Met: Live in HD," the successful series of live hi-def cinema transmissions of current Met offerings, continues to expand even as the company has been forced to downsize some of its programming ambitions in the current economy.

The growing momentum of the program -- with more than 1.5 million tickets sold so far this season -- has caught the eye of legit orgs looking for ways to boost their brands. Earlier this year, London's National Theater announced a similar series of live cinema broadcasts clearly modeled on the Met's pilot program."

The rub to date has not been anything to do with technology or potential receptivity by the market, but business model issues having to do with union contracts.  Variety goes on to explain:

"Performer and stagehand unions were initially wary of the "Live in HD" program as a potential exploitation of its members -- but they warmed up when a deal was worked out that has union members sharing in revenues once the broadcast's production costs are recouped.

"It's a model that works," Gelb says, adding that sales easily outpace the costs of production and distribution, which average around $1.3 million per transmission."

And as one might have theorized, the experiment is broadening the audience for live productions:

"Part of the benefit comes in bringing Met fare to new auds -- a goal shared by an array of Gelb's aud-building programs, including free dress rehearsals and live telecasts in Times Square on the season's opening night.

"We've seen it go from the core opera fans to a broadening demographic," says Dan Diamond, VP of Fathom, the National CineMedia branch that distribs the "Live in HD" series. "It creates a relevance to younger audiences because it's in a movie theater, and it's more affordable."

That rising profile, in turn, feeds into box office at the Opera House itself. Paid attendance, which came in at 76% before such initiatives began, rose to 88% last season."

Who knows, we may see this trend expand to live theater as well, be it Broadway or Off-Broadway.  One of these days the show may yet go on...line.  Perchance to Dream.

ON STAR TREK RE-TOLD

BRACE FOR IMPACT

The newest trailer for the upcoming Star Trek movie, helmed by J.J. Abrams of "Lost" fame, shows again how story trumps everything. 

Here's the clip to see what I mean:

The line that got me the most was of course the kindly mentor talking to the young Kirk after he'd just been in a bar fight, about his father (spoiler alert):

"Your father was the Captain of a Starship for 12 minutes.  He saved 800 lives, including yours.  I dare you to do better.  Enlist in Starfleet."

Wow, what a whopper of a re-introduction to the Star Trek story. 

As powerful as the "Earn this" line by Tom Hanks at the end of "Saving Private Ryan".

We all yearn for good stories, told and re-told again. 

The new Star Trek movie, may well be on it's way to do this better than the 10 Star Trek movies preceding it.  Looking forward to 5.08.09.

ON A DASH OF ART

BREAK IN THE CLOUDS

Amid all the doom and gloom in so many markets around the world, it's nice to see some good news in an asset class, any asset class.  The New York Times reports:

"Despite the global economic crisis, a lot of money seems to be left over.

On Monday, the private collection of Yves Saint Laurent and his partner became the most expensive one ever sold at auction, bringing in more than $264 million on the first night alone."

As the Wall Street Journal goes on to explain:

"The evening sale in Paris surpassed its presale high estimate of $232 million, a reassuring result indicating that the world's billionaires are willing to compete for blue-chip artworks that they consider a bargain..."

"...The rousing kick-off marks a dramatic turnabout for a global art market that's been ailing since last fall. Art sales at the two chief houses, Sotheby's and Christie's, totaled $10.4 billion last year, down 16.8% from 2007."

Nice bit of news while stock markets worldwide test ten-year lows.  Let's hope it lasts.

ON A DIFFERENT BOLLYWOOD REACTION

GLASS HALF EMPTY
Slumdog Millionaire had been on my list of movies to watch before sweeping four Golden Globes a few days ago (best director, picture, screenplay and score). 
Here's a review from the LA Times if you're not familiar with the movie.
One of Bollywood's biggest stars, Amitabh Bachchan has an unexpected take on the awards.  Here's an excerpt from the UK's Guardian:

"Slumdog Millionaire may have been thrown bouquets by western critics and audiences, but brickbats are flying in its direction in India.

Although the film was a big winner at Sunday's Golden Globes and is seen as a frontrunner for the Oscars, Amitabh Bachchan, Bollywood's top actor and perhaps one of the most famous faces in the world, has voiced bitter comments about the movie's portrayal of India.

Writing on his blog, Bachchan said that "if SM projects India as [a] third-world, dirty, underbelly developing nation and causes pain and disgust among nationalists and patriots, let it be known that a murky underbelly exists and thrives even in the most developed nations."

There has been some debate about the "Indian-ness" of the movie. Slumdog Millionaire was directed by the British film-maker Danny Boyle, best known for the noir comedy of Trainspotting. The film is based on a novel, Q&A, by the Indian writer and diplomat Vikas Swarup, and adapted by Simon Beaufoy, the British screenwriter of The Full Monty.

Bachchan added that an Indian director making a western-style film might not meet with the attention lavished on Slumdog Millionaire: "It's just that the SM idea, authored by an Indian and conceived and cinematically put together by a westerner, gets creative globe recognition. The other would perhaps not."

It's an interesting point, but in general, a big win for this movie seems to be a big win for Bollywood down the road.

ON THE NEW SOUNDS OF CHRISTMAS

YET AGAIN

Another year, another Christmas morn. 

The gifts have all been opened and heart-felt holidays wishes have been expressed all around. 

Of course one  of the most popular gifts everywhere this year has made an appearance in our household, the Guitar Hero World Tour (Wii Edition).  As I type this, my sister-in-law (aka "The Doctorette" in the game), is treating us all to a rendition of Steely Dan's "Do it again" , to the crackle of a roaring fire *. 

It's one of my favorite all-time songs, and of course I'm not alone in this sentiment.

But it's something familiar heard and seen in a whole different way, on a very special day.

Here's what it looks and sounds like, courtesy of a contributor on YouTube, sans crackling fire. 

Merry Christmas everyone, and the warmest wishes for the Holidays.

* Image source.

ON A HOT HOLIDAY ECONOMIST

WARM AND FUZZIES

One of my pleasures this time every year is the Christmas edition of the Economist. 

For as long as I can remember it's a "Special Double" issue, and it's a special treat to read it cover to cover over the Holidays.  Besides covering the news and issues of the day, the Economist always has in-depth features on topics one may not always think about, but is immensely interesting once you think about it.

This year's issue, is no exception.  I've gone through almost the whole issue, and there are a whole host of "off-the-beaten" articles.

I'll highlight this one titled "Global Warming" as an example.  And no, it's not on what you may think it's about.  It's on how chilies are becoming popular the world over:

"TASTELESS, colourless, odourless and painful, pure capsaicin is a curious substance. It does no lasting damage, but the body’s natural response to even a modest dose (such as that found in a chili pepper) is self-defence: sweat pours, the pulse quickens, the tongue flinches, tears may roll. But then something else kicks in: pain relief.

The bloodstream floods with endorphins—the closest thing to morphine that the body produces. The result is a high. And the more capsaicin you ingest, the bigger and better it gets.

Which is why the diet in the rich world is heating up. Hot chilies, once the preserve of aficionados with exotic tastes for cuisine from places such as India, Thailand or Mexico, are now a staple ingredient in everything from ready meals to cocktails.

One reason is that globalisation has raised the rich world’s tolerance to capsaicin. What may seem unbearably hot to those reared on the bland diets of Europe or the Anglosphere half a century ago is just a pleasantly spicy dish to their children and grandchildren, whose student years were spent scoffing cheap curries or nacho chips with salsa..."

The whole article is worth reading, as is getting the print edition of the holiday Economist.  Enjoy.

Happy Holidays everyone.

ON A SMILE FOR THE TIMES

HUMOR IN CUNEIFORM

I've been a long time fan of blogger Hugh MacLeod's "back of a business card" cartoons.  It's good to see him publish 21 new ones on his blog Gaping Void today.  Collectively they seem to reflect the mood of the times, a good bit of group angst.

My three favorites are show below.

I'll start with the one that's been on all our minds for a few years now.

The next one resonates for me in these economic times.

And the last one tickles my eternal optimism. 

See which other ones strike your fancy.

ON TRIALS AND VERDICTS

CRIME AND PUNISHMENT

The Drudge Report probably said it best on the O. J. Simpson news today, with two simple words, "The End".  As the accompanying story explained:

"For more than 13 years, he has been widely regarded as the man who got away with murder.

But this morning, O.J. Simpson was punished for other crimes: last year’s kidnapping and armed robbery of two sports memorabilia dealers at Palace Station.

After hearing a statement of remorse from Simpson, whose voice quavered as he spoke, District Judge Jackie Glass imposed a sentence that will keep the former football star behind bars between nine and 33 years."

It was of course an ironic ending, where a different trial produces a verdict so different than the one expected in the original "Trial of the Century" in 1995.

There was another case, many more years ago, which captured the nation's interest almost as much, where the nation never got the trial that many really wanted.  

I'm referring of course to the unconditional pardon of Richard Nixon by Gerald Ford in 1974 for all crimes committed while he was President. 

What brings all this to mind is the new Ron Howard movie titled "Frost/Nixon", that opens in theaters in a few days.  Here's how the New York Times explains it:

"It’s twinkle versus glower in the big-screen edition of Peter Morgan’s theatrical smackdown “Frost/Nixon.”

Directed by Ron Howard and adapted by Mr. Morgan, the film revisits the televised May 1977 face-off between the toothy British personality David Frost and the disgraced former president Richard M. Nixon three years after he left office, trimming their nearly 30-hour armchair-to-armchair spar into a tidy 122-minute narrative of loss and redemption that, at least from this ringside seat, would be better titled “Nixon/Frost.”

The trailer for the movie ends with one of the most dramatic Nixon quotes from the interview, "When a President does it, then it is not illegal".  Watch for it here.

Now here's the original quote by Nixon from his interview with Frost; again, it comes at the 2:45 mark of this clip.

Big difference of course in how the line is delivered and portrayed. 

As in the O.J. verdict that ultimately came, the payoff from the "trial" that ultimately came was anti-climactic. 

Again, all this comes to mind at this time since as Mark Twain reminded us so long ago, History may not repeat itself, but it sometimes rhymes.  And of course it's pardoning season again, and it is a whole new century.

ON TIMELESS TOOLS

SUM OF THE PARTS

This picture from the late 1800s made me do a double-take today.  Here's the Gizmodo post that goes with it:

Sometimes, things as mundane as tool kits can look like great works of art.

This piano repair box, perfected by Henry Studley, does a great job of fixing up instruments, but it's careful placement of knicknacks also makes it beautiful.

Studley was an organ and piano maker, as well as a carpenter and mason, who worked for the Smith Organ Co. at the turn of the 20th century.

His tool chest was loaned by his grandson to an exhibit at the Smithsonian Institution's National Museum of American History, until a private collector bought it.

When closed, it's dimensions are roughly 39-inches x 20-inches x 9-inches. When opened though, it widens out to 40 x 40. [acriacao]

What struck me about the picture was how much it looked like a printed circuit board, which of course has been a critical component of so many tools less than a century later.