Category: Entertainment

Now Hear This

 

This is a golden age for listening to audiobooks on portable electronic devices like smartphones and iPods, but the high price of audiobooks still holds them back from becoming as popular as electronic books or printed books. Before the inclusion of compact solid state storage on portable devices, audiobook listeners were encumbered with multiple compact discs (CDs) or cassette tapes for each book. The combination of compressed audio formats with high capacity compact storage has unlocked a perfect setting for listeners to take advantage of audiobook downloads from the internet and then enjoy a seamless listening experience any time and anywhere.

 

While the marriage of hardware technology with software format is now ideal for enjoying audiobooks, the pricing remains a stumbling block. Regular prices can start at $15 and go on up to $100. In any case, the audiobook price is always the highest of any of the formats, from hardcover or paperback print to ebook. Production costs for publishers are higher naturally because of the need for voice talent, production personnel, and recording facilities. It may be that to produce a truly professional result the costs cannot be lowered, and therefore audiobook prices will remain high. That would be a shame, since the technological moment has never been better and that has in turn increased demand. If increased demand does not drive the price down, then most likely audiobook sales will hit a wall, and new listeners will no longer be drawn to the format.

Anker Sonntagnachmittag 1861
Sunday Afternoon, an 1861 painting by Albert Anker (1831-1910).

There are some alternatives to the business model of publishers producing audiobooks themselves or licensing their books to production studios, a model resulting in high overhead costs which increase the prices of best sellers and niche books alike. One alternative encourages authors to engage voice talent and production facilities and staff more or less on their own, knocking down the overhead costs. An author could still go for high concept production, but most have not. This business model has had the effect of increasing the overall amount of titles with audiobook versions, and at better prices than the standard publishers’ audiobook versions. It seems the publishing houses have been unable to take advantage of the audiobook’s golden age on account of their lumbering dinosaur steps, and a more nimble approach was needed.

Another alternative is the free model of LibriVox, staffed by volunteer readers using their home studios. The books they read are all in the public domain, and are free to download, with no digital rights management encumbrances. LibriVox is a laudable project, and even though there are no modern best sellers available for listening, the collection of classic literature is extensive. As can be expected with volunteer readers producing their efforts themselves from probably quite modest facilities, the results are wildly uneven, sometimes within the same audiobook, since LibriVox occasionally parcels out different chapters to several readers. Listening to LibriVox audiobooks is therefore a hit or miss experience which can be useful all the same in filling in gaps for a listener, especially when it comes to the classics.

The enjoyment of listening to a great storyteller goes back to childhood individually, and to the beginning of history for the human race as a whole.
It appears the audiobook industry has settled on the monthly subscription model as its most effective way to sell to listeners. Relatively few people are interested in buying titles outright considering the high prices. Subscription rates for only one or two audiobook downloads per month are also high, but at $10 to $20 they seem easier to swallow. The public library is yet another alternative for downloading audiobooks, although because of budget cutbacks libraries are having more difficulty than ever stocking a selection of audiobooks comparable to their print book inventory. For an audiobook fan with a middle class or slimmer amount of disposable income, putting together a home audiobook collection like a roomful of long playing records or several bookcases filled with paperback books is probably not feasible. For a frequent listener, the rental plan offerings are not very filling at only one or two audiobooks per month. A little of this and a little of that might be the best strategy for an audiobook fan with shallow pockets – a monthly subscription if it can be had at a good rate, an active library card, and an electronic bookmark for the LibriVox website.
— Techly

 

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Talking a Good Game

The Jerusalem Hackathon (99)
Players at a game of Catan during the April 2016 Wikimedia Hackathon in Jerusalem, Israel. Photo by Ariel Elinson.

The German board game Settlers of Catan, now known simply as Catan, first published by Klaus Teuber in 1995, changed ideas around the world about what board games could be and led the renaissance in the form that has seen huge growth over the last 20 years, primarily among young adults. Catan is competitive, just like many board games of the past like Monopoly and Risk, but unlike those games it does not eliminate some players before the game is over, and therefore everyone who starts the game holds on to a chance at winning until the end. It is competitive, but not reductive.

That game dynamic, which has come to define most of the board games coming from Europe, and particularly Germany, in the last 20 years has become known by the shorthand Eurogames. The games are overall competitive in nature while incorporating elements of cooperation and degrees of engagement with, or isolation from, one player to the other players as suits an individual’s personality or strategy. The character of the games can be seen as socialist rather than capitalist, as in Monopoly. Warring and confrontation are similarly sidelined in favor of building or collecting. A player still strives to outdo the others, though not entirely at their expense. The games are not zero sum games, where one player ends up with everything and the others are left in ruins.

Uncle penny
A balloon of the Monopoly mascot, Mr. Monopoly, also known as Rich Uncle Pennybags, at a Macy’s Thanksgiving Day parade in the early 2000s. Photo by Fluffybuns.

The genius of these games coming out of Europe is how they tap into the better parts of our nature without resorting to banality, which of course would ensure they got played exactly once before finding a place on a closet shelf, there to be ignored ever after. The game designers understand the duality of human nature, and they give play to both sides, and in the best games, such as Catan, they appear to have achieved a balance, a yin and yang duality, if you like.

A scene from Stanley Kubrick’s 1987 film Full Metal Jacket, with Matthew Modine as Pvt. J.T. “Joker” Davis being upbraided for not going along with the program. Warning: foul language.
Many of the older games, like Monopoly, much loved as they were, gave vent primarily to the aggressive, greedy side of our nature, and people mistakenly thought that was who we were, and all we were. Pillaging and destruction of competitors may be all fun and games for a certain limited part of our psyches, and honesty demands we acknowledge that is part of who we are. But it is only a part, and the rest of our spirit seems to demand we fulfill our need to build and create, urged on still by that core desire to do it as well as we possibly can, and if that results in greater and grander returns than everyone else can achieve, then so much the better. All in good fun, of course.
― Vita

 

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Joy in a Toy

 

With Christmas past by several days now, many children will be enraptured by a new toy or toys if they were lucky enough to receive them. The trend now is for giving more technologically sophisticated toys even to small children, but a simple toy such as a rubber duck can give a small child many hours of joy through encouraging the use of imagination, while some complicated toys do everything for the child, who quickly becomes bored through passivity.

 

For such a simple toy, the rubber duck has become enormously popular since its introduction in the form we recognize today in the mid-twentieth century. Some rubber ducks squeak when squeezed and others don’t, but all are hollow with a weight in the bottom, so that they always float upright. Of all toys in America, perhaps only the teddy bear is more popular than the rubber duck. A teddy bear does even less on its own than a rubber duck, however, since some won’t float, and it certainly doesn’t know which end is up when it does float.

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The world’s largest floating rubber duck, designed by the Dutch artist Florentijn Hofman, is towed in Los Angeles harbor in August 2014 as part of the Tall Ships Festival. Photo by Eric Garcetti.

The technology employed in making rubber ducks is some of the simplest in manufacturing, involving rotational molds, heat, and some hand painting. The toys are not made of rubber anymore, since that has gotten too expensive. Manufacturers instead use a non-toxic vinyl which will be safe for toddlers, who inevitably will chew on the toy. The paints also are designed for child safety. Like many manufacturing plants in the past half century, the ones for making these simple toys had moved overseas, primarily to China, until one company returned part of its manufacturing to the United States. That company struggled at first to find a factory and skilled workers, evidence of how quickly disused facilities and worker skills melt away without investment.

For all the stories in the news about how Silicon Valley technological companies like Apple and Google are leading the way for the American economy, and how the less educated workers who don’t fill that mold will just have to make do with minimum wage jobs in the service economy, flipping burgers at McDonald’s or driving Ubers, there are millions of workers who are not cut out to be software engineers but who nonetheless could use better paying jobs to help their families not merely stay afloat, but get ahead in the world.

In this clip from an early episode of Sesame Street, Ernie the Muppet sings “Rubber Duckie”, the 1970 song that set off a resurgence in popularity for the toy.
These are people who may never invent the next big thing in computers or smartphones or driverless cars, but whose children possibly could if given a fair chance at a good education without sinking the family into poverty. In the last fifty years, while the rich in their opulent yachts have gotten ever richer, the working class has been cut adrift from the mainstream economy by the loss of good paying manufacturing jobs, and the middle class has been kept busy furiously kicking to keep from drowning. Not everything has to be complicated or technologically sophisticated to work well in the world. Sometimes all it takes to make people happy is a simple toy that knows enough to bob upright in the water and keep afloat with a plucky smile.
― Techly

 

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A Good Backup

 

“I ain’t got no quarrel with them Viet Cong. No Viet Cong ever called me Nigger.”
― Muhammad Ali (1942-2016), speaking in 1966 in protest of the military draft.

Nearing the end of another NFL season, it’s easy to see how important a quality backup quarterback can be to a team’s fortunes in making it into the playoffs. Sixteen games, some of them on short rest on Thursdays, takes a toll on starting quarterbacks, especially since teams have become pass oriented in the past thirty or more years. When teams ran more than they passed, which was generally the case until about 1980, quarterbacks didn’t take as much of a beating as they do now. The NFL, as it has too often done, tinkered with the rule book at about that time, changing it to favor the passing game and increase scoring. No more low scoring defensive slug fests, if they could help it. Air Coryell, named for Don Coryell, the head coach of the San Diego Chargers from 1978 to 1986, became the model for a new style of NFL play.


The NFL has allowed greed to take the upper hand and has over saturated the market. Player protests against police brutality are the least of its problems, much as league officials would like to blame the protests for all its problems. Slipping in the television ratings started several years ago, before the protests began. The league’s real problems begin with a rule book as complicated as the Talmud, and the rigorous application of all its tenets can slow games to a crawl,  along with all the artificial television timeouts taken to cram in over an hour’s worth of commercials into each game. The game has become a technocratic bore.

JohnnyUnitasSignAutograph1964
Johnny Unitas signing an autograph at the Baltimore Colts’ Westminster, Maryland training camp in the summer of 1964. Unitas, the starting quarterback for the Colts from the late 1950s to the early 1970s, was often hurt, but his backup many of those years, Earl Morrall, was probably the best in NFL history. Photo by Joel Kaufman.

Speaking of the protests, it seems there is no one around in the media to speak up for the players the way Howard Cosell spoke up for controversial athletes in his day. Mr. Cosell lent a real world perspective to sports that is missing today. Yes, he was bombastic, but the bombast was always mere showmanship, and most people understood that. Some were so irritated by Mr. Cosell that they couldn’t see past his bombast and arrogance, all of it done with a sly wink, and therefore they tuned him out, missing his points about keeping a realistic, adult perspective on sports in the larger world.

Comedian Billy Crystal tells a story about Howard Cosell in this 2013 appearance on David Letterman’s late night talk show.
Howard Cosell was a good backup for his viewers against the more real and destructive bombast and arrogance of NFL owners and marketers, as well as other authority figures in sports and in the politics surrounding it. He would have backed up the players protesting police brutality now similarly to the way he backed up Muhammad Ali when Ali refused to comply with the draft. The league doesn’t always look out for the players’ best interests when they make rules changes and schedule expansions out of greed, and it appears no one in the current media has the stature and integrity Howard Cosell had in the late twentieth century, and will as he did back up athletes when they exercise their constitutional rights as citizens.
― Vita

Howard Cosell guest starred as himself on a 1972 episode of the television situation comedy The Odd Couple, with Tony Randall and Jack Klugman. Ironically, Mr. Cosell was at the height of his fame then largely because of his broadcasting duties on Monday Night Football, which started in 1970, inaugurating the bloat of the NFL into the ubiquitous bore it has become today.

 

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Growing Up Is Hard to Do

 

If in early 1977 you had dropped off for a long sleep and, like Rip Van Winkle, awakened many years later, in this case late in 2017, and you were an avid moviegoer, you would find many changes in the types of movies that were popular in the different eras. Some of the biggest changes would have come about because of Star Wars (1977) which was released shortly after you nodded off, and was the first successful movie with “B” movie themes made on an “A” movie budget, and because of Batman (1989), which was the first successful movie to take a comic book character seriously.

 

Now in 2017 those types of movies have all but crowded out the big budget movies with adult themes that the major studios used to make, the prestige pictures like Lawrence of Arabia (1962) and Doctor Zhivago (1965) that David Lean directed, as well as other pictures by directors such as Francis Ford Coppola and Martin Scorsese. A few prestige pictures still somehow get made and released each year, but most movies with adult themes are small budget, mostly independently produced affairs that have a limited run in movie theaters before going to a movie rental service. The big money in Hollywood goes mostly to comic book superhero movies, “B” movies made with “A” movie money, and they take themselves very seriously.

Adventures of Captain Marvel (1941 serial) 13
A promotional poster for the 1941 serial Adventures of Captain Marvel, with Tom Tyler on the left and Nigel De Brulier on the right. Serials like this would not even have had the status of “B” movie, since they were usually only about twenty minutes long instead of feature length, though their production values were just as cheap.

 

When Star Wars first came out in theaters, its director, George Lucas, knew perfectly well he was borrowing themes and story lines from old “B” movie adventure serials, and he reveled in those corny conventions with a wink at the audience, who understood the whole thing was a kitschy romp. Similarly for Lucas’s friend, Steven Spielberg, several years later when he directed Raiders of the Lost Ark (1981), an adventure yarn based entirely on the cheap movie serials of the 1930s and 1940s. George Lucas was the executive producer on that film, and both he and Spielberg, talented filmmakers who were steeped in old film lore, were like kids playing in a very expensive sandbox. Those movies made a lot of money, but still no one took their stories too seriously.

 

That changed with the release of Batman in 1989, directed by Tim Burton, who claimed he was never particularly enamored of comic books, but who wanted to take the tone of his film far from the campy take on the comic book superhero of the 1960s television show. Burton nonetheless injected some tongue in cheek bits into his movie, mostly in Jack Nicholson’s portrayal of the Joker, though that may have been as much Nicholson’s interpretation as Burton’s. The movie was a huge success, and studios took note of how intent the fan base was on seeing a serious treatment of the subject when the fans followed every rumor about the film’s production, especially the casting of Michael Keaton, known at that time mostly for comedic roles, as Bruce Wayne/Batman. Comic book fans were upset that the casting of Keaton hinted the film would be another campy treatment, like the 1960s television series.

Adventures of Captain Marvel (1941 serial) 12
A publicity still from the 1941 serial Adventures of Captain Marvel, starring Tom Tyler as Captain Marvel, here beset by two pesky foreigners.

When those same fans went to theaters and saw just how deadly serious Keaton’s Batman was, they were delighted. Ever since then, Hollywood has been ladling up more and more deadly serious comic book superhero movies to that fan base, who appear to be insatiable. Since Computer Generated Imagery (CGI) has achieved convincing results rendering the fantastic world of comic books over the past ten or fifteen years, movie producers have tripped over each other turning out more of these movies. All that CGI isn’t cheap, and a comic book movie can cost upwards of 100 million dollars to make. With a worldwide release, however, and all the merchandising tie-ins that comic book superheroes lend themselves to, a film studio can pull in upwards of one billion dollars from each movie.

A scene from the 1960s Batman television series, starring Adam West as Bruce Wayne/Batman and Burt Ward as Dick Grayson/Robin, that points to the silliness at the heart of the dual identity superhero premise.

 

Lawrence of Arabia probably did not generate enough merchandising to be worth mentioning. It was also a complex character study, and therefore did not have the broadest possible appeal. Comic book movies do not have the broadest possible appeal, either, but they have a broader appeal than the old prestige pictures that asked some maturity of their audiences in order to understand their themes. Is this what we want? It is apparently what the portion of the public with generous amounts of disposable income and low expectations wants when they go to the multiplex, because comic book movies have come to dominate the marquee listings. It would be nice if more new prestige pictures made it onto the marquee, because those are movies worth paying to see on the big screen, and in a theater with a terrific sound system. For those moviegoers, unfortunately, these are times of poor pickings, and they might as well stay at home to watch movies on their own setup, or take a long snooze, waking up in forty years to see if “A” and “B” movies have returned to their rightful order in the alphabet.
― Vita

 

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The Name of the Game

 

Board games don’t require the high technology of video games, but they are enjoying a resurgence in popularity nonetheless, and in many respects they are opposite in nature to video game culture. Playing a board game is a social activity for two or more people, usually in the same room. While there are electronic ways to play board games remotely, such as chess via email, most people still play the games face to face. Board games can be violent in the players’ imaginations only, and game graphics are usually reserved. Like all games, however, they lean toward competitiveness over cooperation, with some board games promoting a winner-take-all outcome.

Monopoly has been such a game, popular since the 1930s when Parker Brothers introduced it. Or at least that was the story until the 1980s, when it became clear that the game was older, and that Parker Brothers had not been first with it. Elizabeth Magie patented the game in 1904 (renewing it in 1924), with two sets of rules, both meant as teaching tools to demonstrate the value of cooperation over unfettered capitalism. She called her game The Landlord’s Game, and under one set of rules, called “Prosperity”, land was taxed and the goal of the game was to make sure the player lowest in resources eventually doubled them, in which case every player won. The other set of rules, called “Monopolist”, contained the elements of the game as we know it today.


Ms. Magie did not mass market her game, with the result that homemade variants popped up over the years, mainly in the parlors of educators at Eastern colleges, who enjoyed the game more or less for its instructional value, as Ms. Magie had intended. She made no money from it. In 1932, Charles Darrow started marketing the game as his own after dropping the “Prosperity” set of rules and changing the name to Monopoly. It is unclear how much he knew about the game’s true origin. He sold the rights to Parker Brothers in 1935, and it was Parker Brothers that, after hearing rumors about Mr. Darrow not inventing the game, investigated and found Elizabeth Magie to sign a deal with her. Parker Brothers made and sold Ms. Magie’s The Landlord’s Game, with her original sets of rules, but it apparently didn’t sell well and soon faded into obscurity.

Landlords Game board based on 1924 patent
The Landlord’s Game board, based on Elizabeth Magie Phillip’s 1924 patent; image by Lucius Kwok.

Meanwhile, Parker Brothers continued promoting Charles Darrow as the inventor of the game Monopoly, and that game sold quite well. All games teach lessons, whether overtly as in Ms. Magie’s Landlord’s Game, or in a way most of us take for granted, as in Mr. Darrow’s Monopoly. We take for granted that people are competitive to a fault and that capitalism serves the seemingly inherent nature of people to take all they can, and if their riches come at the expense of others, then so be it. We take it for granted, but it is not entirely true. Human nature as represented in the lessons of the game Monopoly is an aberration. Why then has it become such an immensely popular board game? Why isn’t The Landlord’s Game, with its depiction of a more equitable world, just as popular?

Perhaps the thing about games is they are just that – games. They allow for a certain amount of role playing, of more or less behaving in a way a person would not behave in everyday life. Some games, video games in particular, take that release too far, or rather the players do. There are cooperative board games available, and they are becoming more popular, but they will most likely never equal in popularity their competitive cousins. There are other games, such as Anti-Monopoly, that try to redress the twisted lessons of Monopoly. The game Class Struggle goes even further. Will they ever become more popular than Monopoly, or even come close? Probably not. It’s good for players to stretch out in their games, however, and learn other lessons and other ways of being, and not end up with a one dimensional, selfish view of the world, a view that glorifies some others who probably shouldn’t be glorified, the ones who call themselves “winners”, though they take everything and leave nothing for anyone else, just like at the end of Monopoly.
― Techly

 

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Cooling the Customers

 

Air conditioning and movies – or movie theaters – go together so well that it’s hard to imagine a time without the benefits of both together. In 1902, just as movies were getting started, Willis Carrier (whose company made the political news in 2016), a mechanical engineer, invented the first modern air conditioning plant to help a Brooklyn, New York, printing company solve a paper wrinkling problem at its facility. It wasn’t until 1925 that Carrier got together with a movie theater owner to install air conditioning at the Rivoli Theater on New York City’s Times Square. It was a match meant to be, and from then on the summer, which had been the poorest season for movie theaters, became the richest as people attended movies as much for the air conditioning as for the entertainment.

When The Seven Year Itch, starring Marilyn Monroe and Tom Ewell, appeared in theaters in 1955, most houses and apartments did not have air conditioning. In the scene before this one, they leave an air conditioned movie theater after viewing Creature from the Black Lagoon, a 3D monster movie the appeal of which, for them, was probably not as great as the cool comfort of the theater itself.

Home air conditioners were still unusual in the 1950s and 1960s, but by the 1970s most homes had some form of air conditioning, whether central or window units. Movie fans no longer flocked to theaters in summer only for the sweet relief of a few hours respite from summer’s heat and humidity. People continued going to see movies in theaters in summer on account of children being out of school, and how air conditioning in theaters since the 1920s had established summer as movie season. Watching movies at home was still unsatisfactory because of small television screen sizes, low picture resolution and poor sound, and a lag of one or more years before Hollywood would release movies to television.


Meredith Willson 1967
Meredith Willson, when he appeared on the Texaco Star Theater television program in 1967. Willson, who was born in 1902, coincidentally the same year that Willis Carrier invented modern air conditioning, had a long career spanning Broadway theater, Hollywood movies, radio, and television.

All that has changed in the past forty years, of course, starting with home video technology and the ability to either buy or rent movies for home viewing. Theaters felt the pinch, and old style movie palaces shut down, relegating the movie theater experience for the most part to shoe box multiplexes at suburban malls. Drive-in theaters, another summertime movie going experience from a bygone era, shut down along with the air conditioned movie palaces. Now in the last ten years the home theater experience, for people who can afford it (and it becomes more affordable all the time), has progressed to the point that a fair portion of movie fans feel little pulling them toward returning to theaters. Their homes are air conditioned, their televisions and sound systems have gotten bigger and better, and Hollywood releases movies for home viewing so quickly that only the most impatient fans aren’t happy to wait a little while.
The old movie palace experience was something special that can’t be matched by watching a movie at home, no matter how comfortable and technologically sophisticated circumstances at home have become. Comedies and big, crowd pleasing musicals in particular seemed to take on a frisson of excitement when viewed in a well appointed theater among other patrons who were similarly enthralled. Now that theater owners around the country have finally gotten the message and are starting to move away from the nothing special, cookie cutter mall multiplex and toward building theaters that reestablish the grandeur that is only possible outside the home theater, it is questionable whether movie fans will return.

Meredith Willson’s most famous entertainment, The Music Man. Robert Preston, shown in this scene with Buddy Hackett, starred in the long running Broadway show before doing the movie version in 1962.

Some people have had time to drop the movie going habit, for one thing, and for another there is a relatively recent technology that has come into the equation which affects their enjoyment of movies – cell phones. In the theater, cell phone users interfere with the other patrons’ enjoyment of the movie, but at home, for those people who simply can’t do without their phone for even two or three hours, then at least they’re not annoying other paying customers, and for their own enjoyment of non-stop cellular connectivity there is always the pause button on their home theater remote control. Might as well stay home then to enjoy summertime movies, and keep your cool.
― Techly

 

 

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