SXSW: BORING
The next edition of the dog and pony show for the music industry, the 21st annual South by Southwest conference takes place in Austin, TX next week. What was once a cool place to listen to bands that you have never heard of before has become just another reason why the biz stinks. You have celebs suits and wanna be suits (such Perez Hilton) descending upon Austin in order to stroke their own egos for how great they are and how smart he or she is since they are 'discovering' a band that is so far buried on their respective labels roster that they may not be able to breathe when shown the light of day. This festival used to be the epicenter of coolness for the music biz, however, the music biz's version of spring break is just like MTV's version in Panama City: BORING
Halftime: Time to Get Up or Time to Get Down?
Halftime at the Super Bowl never used to be such a spectacle, I guess until Michael Jackson had his way in Super Bowl XXVII in the infamous Dallas-Buffalo classic. I was a young tot way back when but I do remember three things from that game: 1.) the infamous Crystal Clear Pepsi commercial that changed my life 2.) Leon Lett and 3.) MJ's performance. It was a whirlwind performance that featured a body double of MJ at the top of the Rose Bowl then immediately cut to the stage, it was most riveting. Anyway, Super Bowl halftimes as we knew it changed that day. This ushered in a period of Super Bowl half time must-see moments, including highlights such as the infamous Britney Spears (yes she was an entertainer at one point) -Kid Rock-Aerosmith collaboration at Super Bowl XXXV and the unforgettable U2 post 9/11 performance at Super Bowl XXXVI. It seemed that the halftime show would become just as big of a part of Super Bowl folklore as the big game itself. However this changed with one quick, foul swoop.
Super Bowl XXXVIII featured not only the Carolina Panthers and New England Patriots, but the battle of the FCC versus MTV, the producers of the Halftime extravaganza. Ironically it was MJ's sister, Janet and Mr. Timberlake (an MJ imposter) decided to take matters into their own hands, and breasts for that matter, Super Bowl halftimes changed forever. Since that fateful day, we the viewing audience have experienced amazing shows such as the geriatric Rolling Stones and Paul McCartney, a washed up Jehovah's Witness version of Prince and now Tom Petty & the Heartbreakers. Again, during their heydays, this would be exciting, however, its a tad boring and PG rated to see some of my favorite rebel rockers selling out and playing this gig. If it were the Eagles as the NFL wanted originally, then it would fit perfectly because nobody likes the Eagles unless you are from Philadelphia or have zero taste in good music.
Halftime used to be the time in the game where one could go for a refreshment or to refresh. Now, it has become sought after time with entertainment provided by your favorite aging rockers. James Brown would agree when I say that its no longer time to get up and get down, but rather get down, and stay down, of course in a PG type of way.
A few words on the passing of Heath Ledger
On January 22, 2008, the first death of the new year struck. Australian actor Heath Ledger passed at the age of 28 and like so many before him, went before his time. Ledger was perhaps the best young actor and although it may be too early to say, may have become the actor that symbolized his generation, a la Marlon Brando, Jack Nicholson, Clint Eastwood or Sean Penn. However, now Ledger is going to be viewed in the same breath as James Dean, a what could have been. It is very upsetting to see someone who had so much talent and passion for his craft leave the world in such a terrible, untimely fashion. Anytime a person dies it is untimely, but in this case, it just tragic, plain and simple. My heart goes out to his family and his young daughter.
This is Radio Nowhere, is There Anybody Alive Out There?
Happy holidays everyone. To spread holiday cheer, I will briefly, in no particular order, spit out my favorite albums of 2007. A dark year for the biz, but there were still some quality products being released.
Bruce Springsteen Magic- The return of the Boss couldn’t have come at a better time. After his last album, the brooding making sense of 9/11 The Rising, Springsteen’s current record is a call to arms. Every song, leading off with the catchy Radio Nowhere, is typical Boss, bright music, dark lyrics, which as usual nails the state of Americana.
Mark Ronson Version- Talk about having a hell of a year, Ronson not only released a fantastic album but produced two of the most critically acclaimed albums by Lily Allen and Amy Winehouse plus remixed Bob Dylan’s Most Likely You Go Your Way and I’ll Go Mine. Ronson’s album is great mixing in covers and originals and featuring up and comers such as Allen, Winehouse and Daniel Merriweather. Overall, Ronson delivers a unique blend of what makes hip hop still a relevant genre.
Jay-Z American Gangster- Inspired by the film of the same name, Hova delivers yet again, rebounding from the disappointing Kingdom Come. This should have been the album released after The Black Album. With funked out 70’s styled beats, which sample Marvin Gaye and Curtis Mayfield, gives the record the street cred and seriousness that S. Carter is rapping about. Hova is back on his A-game and creates a potential album for the ages.
Radiohead In Rainbows- Not so much for the music, but rather for its revolutionary release/pricing which this columnist got for free, thanks Radiohead! I guess this is payback for that concert in Atlanta in 03 where I had a headache for 3 days straights.
Amy Winehouse Back in Black- I love Winehouse, I love neo-soul, I love her voice, I love her debauchery. Everything about Winehouse rules, and she makes a sick album that if you don’t own, you are missing out on one of the all time greats.
Kanye West Graduation- Kanye being Kanye, he never ceases to amazes me with his talent and sheer brilliance. Anytime you can blend Daft Punk and Lil Wayne on an album, you got me.
Pearl Jam Live from Lollapalooza- The Seattle legends do it again with these exclusive iTunes release. The energy from their headlining gig from August 5’s Lollapalooza is the live album of the year. From raging against George Bush to praising the other artists at the festival to having a huge party on stage during Rockin in The Free World, the boys show they can still do it, seventeen years later.
The Lonesome Death of the New York Knicks
The Lonesome Death of the New York Knicks
It has been long inferred that if a tree falls in a forest and nobody hears it, does it make sound. Well, sadly, that same question can be raised about the death of the team of my youth, the New York Knicks. During my adolescence, there were several things I could count on: school, stress about getting into a good college and the Knicks making the playoffs. During the worst of times, we could expect the Knicks to make it to the Second Round. Now, well not so much. How did it get to this point? Let’s explore the past seven years.
The death of the Knicks stemmed from a poor choice by the previous regime. Instead of letting one of the franchise’s most popular and storied players to leave, the Knicks decided to trade Patrick Ewing and his massive salary in order to get something of value in return for the then 38 year old Center. However, they probably would have been best served in letting Ewing’s salary fall off the books and retain that cap space to sign a prominent free agent. They already had a solid nucleus of Allan Houston, Latrell Sprewell and Marcus Camby so there was no pressing need to get value for Ewing. Management saw it differently and acquired spare parts, a side of rice pilaf and ridiculously overpaid players for Ewing. Also, management was confident that head coach Jeff Van Gundy would be successful at blending this mix of players into a championship contender especially with the addition of competent players such as Glen Rice and Luc Longley. I was against it at the time and even more so now as that day was the catalyst that started New York’s fall from grace.
All things considered, the first season after the Ewing trade went relatively smoothly. It started off quite ominously with a 101-72 defeat to the 76ers to kick off the post Ewing era at the World’s Most Famous Arena. Even though their best players played the same position (Sprewell, Houston and Rice) and were All Stars at the position, all being told, the Knicks had a pretty good year. Though there were constant rumors that they would trade Sprewell for Atlanta Hawks All Star Dikembe Mutombo, the Knicks stood pat with their nucleus and made the playoffs as the 4th seed in the Eastern Conference. Not bad, but certainly not spectacular by their recent history. This is when things started to fall apart.
During their first round playoff defeat to the Toronto Raptors, a series of strange incidents hit the franchise. First, after a Game 2 defeat, Marcus Camby’s family was taken hostage in his West Hartford, CT home. This harrowing ordeal left Camby shell shocked and concerned about his family’s safety, which was more than understandable. After many years, Larry Johnson’s back finally gave out right before Game 3 as well, leaving the Knicks razor thin in the frontcourt. Season long In-fighting finally reached the boiling point after their surprising series defeat in Game 5 at Madison Square Garden. Sprewell threw a not subtle verbal jab at Houston when he said that some guys didn’t try very and it seemed like only he (Sprewell) and Kurt Thomas were the only ones that were. It was apparent to anyone that followed the team that since Houston was a free agent, Sprewell was greasing the wheels for his departure. This was not to be the case.
The second folly after the Ewing trade was the inexplicable contract that the Knicks gave Allan Houston. After his first All Star season, the Knicks rewarded Houston with a 6-year/$100 million dollar contract. This baffled even Houston’s most fervent supporters. The Knicks paid Houston like he was being hotly pursued by many teams when in reality only the Detroit Pistons showed mild interest and couldn’t offer him nearly the same money that the Knicks could. This didn’t deter the Knicks and they paid Houston like a future Hall of Famer. Having newfound confidence from his gigantic deal, Houston proclaimed himself to be the best shooting guard in the league. Apparently the contract gave Houston reason to believe that since the Knicks were spending like a drunken sailor, that he could talk smack like one. This pattern of grossly overpaying players set a precedent.
The same off-season, the Knicks foolishly traded for Howard Eisley and Shandon Anderson, both of whom were signed to long term deals where they were paid $7 million per season. Their agents must have thanked their lucky stars that they found some sucker team to pay their clients like stars even though their track record had shown them to be marginal players at best. Every Knick fan out there rolled their eyes and groaned, but had hope that these overpaid players would fit in with Coach Jeff Van Gundy’s system that worked well the season before. The same formula, too many small guys not enough big guys, doomed the Knicks in 2001-2002.
The cracks were in the foundation, but the house didn’t start to collapse until 20 games into the season. At this point, the Knicks were a respectable 11-9 and were on a two game winning streak. Though they were blown out at the beginning of the year, the team seemed to have righted the ship. Then Jeff Van Gundy resigned as Head Coach of the Knicks. In hindsight it was the best decision that he could have made but at the time, but at the time, experts viewed the timing of Van Gundy’s resignation as curious at best. After long time assistant Don Chaney took over, the team took a nosedive to the tune of a 32-50 record, the franchise’s worst since 1986-87.
There were no highlights of note that season. The team was boring and the fans stopped showing up. There was nothing good to report or to come during that season. That changed when GM Scott Layden pulled the trigger on a controversial deal with Denver for former All Star Antonio McDyess. This was a risky deal on many fronts. First, the Knicks were trading their best frontcourt player (Camby) and the 7th pick of the 2002 draft (Nene). Secondly, if they kept the pick, the Knicks could have kept Camby and drafted a potential superstar in Amare Stoudemire. Thirdly, McDyess came off a serious knee injury and Denver management wasn’t sure if he were to be the same. However, this didn’t bother the Knicks. They pulled the trigger on this draft day deal. Their faith was rewarded when McDyess, in the final preseason game, promptly tore up the same knee and missed the entire 2002-2003 season, unless you count the retiring of Patrick Ewing’s number which was the only sell out of the season.
After another non-descript season where the team went 37-45, the Knicks again missed the playoffs and tried to make a big splash in the off-season. By trading its most popular player (Sprewell) for the overrated and overpaid Keith Van Horn, Knicks management continued on the path of alienating every true fan that they had. By the middle of the season, owner James Dolan had seen enough. He fired Layden and fans rejoiced. However, their nightmare was only beginning as the franchise was heading into the darkest period in its history.
Part 2 coming next week
Tuned Out
` It is that time of the year again. Thanksgiving marks the beginning of the end for another year. Its holiday time also known as the most wonderful time of the year. There are several things you could count on: the playoff push in the NFL, another 350 bowl games, snow, Bad Santa, endless lines at the mall and holiday specials on our favorite scripted TV shows. Well, everything except for scripted TV shows.
For much of the past month, the writer’s guild has been on strike, as many know. When the writers walked off, they had a legitimate beef. The writers are well within their right to ask for improvements to their last labor agreement from 1988. The long and short of the problem is that when studios negotiated this deal, they did so during the time of the VCR and when the cost of duplication of VHS cassettes was on the expensive side. As we all know, this notion, like the labor agreement, is antiquated. The DVD has replaced the VHS and duplication is easier and cheaper than it’s ever been. With new outlets such as iTunes and the Internet, television shows generate more money than anyone could have foreseen. Normally, when new revenue streams are created, everyone gets a piece of the proverbial financial pie. The studios see it otherwise which has led to the strike
The writers aren’t asking for anything outlandish here. They are seeking to be compensated fairly and compensated for what they are worth. The studios are making boatloads of money off these new mediums, while the writers are still collecting the crumbs allotted to them in their old deal. This isn’t unprecedented in other industries. Athletes often will hold out for more money and musicians always squabble with their respective labels. In one such incident in the 1960’s, Albert Grossman went to Columbia Records to negotiate a new deal for his star client, Bob Dylan. Referring to Dylan, Grossman told Columbia, “If the bird ain’t happy, the bird don’t song. And the bird ain’t happy.” With the support of the actors, the writers are backing the studios into a position similar to the one Grossman had with Columbia Records. Eventually, Columbia acquiesced and Dylan was compensated for what he was worth to the company. Needless to say, everything worked out for both parties.
If the studios were wise, they would settle the strike now before they risk angering their advertisers in addition to the average viewer. Advertisers are also negatively affected by the strike. If the ratings decline, why would they want to shell out the big bucks to advertise during a prime spot? If the primetime spots aren’t attracting the viewers then the studios are going to see their ad revenue decrease dramatically. Maybe after they lose millions of dollars will go to the negotiating table.
With no settlement looming, many of the popular television shows have stopped filming. Without any new scripts, there aren’t going to be any new shows this holiday season and beyond. It is fitting that an industry that is all about greed and power, the people that are going to be shut out are their biggest supporters. Viewers are going to be upset that reruns are going to be aired every week and they are going to stop tuning in. So come on studios, just settle with the writers and everyone wins.
When Did the Motion Picture Become the Cinematic Experience?
Its mid July and after all the hype, the moment is finally here: The Simpsons Movie, finally on the silver screen. After seventeen years, they decided to make the move from the small screen to the big screen. The next two hours (my friend and I got to the multiplex a half hour early in anticipation of a long line) were going to be hopefully everything that has been hyped and then some. I mean, after all, anywhere you walked in New York, there would be some type of promotion running for the film, whether it be an action figure in the Burger King kid’s meal to the conversion of a 7-11 to a Quik E Mart. As starting time was drawing closer, I was overtaken by the excitement that I felt when I saw the first Simpson episode. I have vivid memories of this, like how some remember where they were when the Yankees won in ’96. As we walked into the theatre and claimed our seats, I thought hopefully this is where the hype and advertising ends and we can enjoy the next hour and half. I was mistaken.
As I went to the concession stand to grab my double sized Diet Coke that would in all likelihood keep me awake for the next 3 days, I took notice of the large Chevy Silverado poster in a frame where the next blockbuster release’s poster should be, which was next to the Bank Of America ATM. I know I don’t get out to the theatre that much, but never before had I seen such blatant commercialism. Does commercialism have any limits?
When I returned to my seat, I asked my friend when the previews were going to start and what the likelihood there would be any good upcoming releases that would be shown. He wasn’t so sure and at that very moment, the lights were dimming. Instead of being treated to 3 minutes of trailers, we had the pleasure of watching 4 minutes of commercials and about 2 minutes of movie previews. I wanted to know when I should mark my calendar for the next big thing and I didn’t want to see an ad about a truck that I am never going to buy. Besides, I don’t think the Simpsons crowd is the target demographic that are going to purchase an SUV or going to switch their checking accounts at the drop of a hat. Just as the crowd was becoming restless, the movie started.
After an hour and a half, the movie thankfully ended. At this moment, I realized something that I had been in denial about for some time. The movie began four weeks earlier, when the cross marketing and co branding started to pop up on the small screen and billboards everywhere. My cinematic experience started then, not when I got to the theatre. Truth be told, I was so sick of the hype at that point that the end couldn’t come soon enough. I felt like I got pick pocketed by both Fox and the theatre. If I wanted to watch the Simpsons with a bunch of commercials (albeit only at the beginning of the movie), I could have done that in the comfort of my living room without having to fork over $12 for a ticket, Fandango service charges and the $9 for the gargantuan Diet Coke. I know I know, I probably shouldn’t have bought the drink, however, when you are thirsty and the smallest size drink is within 2 dollars of the massive sized one, you have no choice but to go for the larger size.
The concept of the movie has become less about the magic of telling a story and more about selling a brand. For studios, the bottom line has become more important than story telling. As long as there is money to be made, the movie itself will take a backseat to the selling of the concept of the movie. Besides, the DVD sales and corporate sponsorship help a studio recoup and eventually allow for a return on its initial investment more so than the box office gross. Since this was Fox’s summer blockbuster, they were going to milk it for everything it was worth in order to save them from the next Michael Bay disaster.
The movie going experience has dramatically changed over the past ten years. If you want to go see the movie and it only, well, you will have to arrive about eight minutes or so after the scheduled starting time, assuming that you bought the tickets online beforehand like we did. However, if you are looking for a new car or credit counselor or the nearest dermatologist then arrive early, get your popcorn, sit back and enjoy.
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SXSW: BORING
Halftime: Time to Get Up or Time to Get Down?
A few words on the passing of Heath Ledger
This is Radio Nowhere, is There Anybody Alive Out There?
The Lonesome Death of the New York Knicks
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