In a 2019 article for the British Broadcasting Corporation, Sharon George and Dierdre McKay wrote, “If you only listen to a track a couple of times, then streaming is the best option. If you listen repeatedly, a physical copy is best . . . ” They were referring to the comparative environmental costs of listening to music either over the internet or reproduced on an electronic device. They could just as well have been giving excellent advice on the best strategy for enjoying all types of entertainment media in the digital age.
Owning physical copies only of favorite movies, television shows, books, and music, while streaming more transitory entertainments, is not only better for the environment, but better in all sorts of other ways. Buying an entertainment you may enjoy only once or twice is expensive and takes up shelf space in the home. Streaming choices are often limited to the most popular or the newest entertainments, leaving outright purchase from a vendor or borrowing from a library as the only options for enjoying more obscure, less widely popular works.
Cinerama historians John Harvey and Willem Bouwmeester photographed in 1987 examining the back covers of vinyl record albums devoted to music used in Cinerama productions. After many years years researching all things Cinerama, they eventually collaborated on the Cinerama installation in Bradford, England, in 1993. Photo by LarryNitrate2Cinerama.
There are indeed thousands of movies and television shows available on the streaming services, but a close examination reveals that the majority of those on the advertisement supported services are public domain properties that will be familiar to anyone who has rooted through the bargain DVD and Blu-ray bins at big box stores. The subscription streaming services are meanwhile moving toward a vertical integration model reminiscent of the Hollywood studios in the days when they owned production and distribution from top to bottom.
If you want to watch the latest Star Wars franchise release and you missed it during it’s brief theatrical release, then you must subscribe to Disney’s streaming service or go without. Some films these days don’t get a theatrical release at all. Another option is to buy the physical media if and when it becomes available. But in that case you would still want to watch the movie first to be sure it’s worth buying. It’s likely there will be always be a hardware means of playing back most electronic media, the trick is in guessing correctly which ones will stand the test of time.
30 years ago, many people thought vinyl record albums were all but dead. Only a tiny niche market of record collectors and audiophiles would continue to have need of record players and record player parts. Few people in 1991 would have guessed that by 2021 sales and production of vinyl records would have reemerged from the dustbin, while compact discs and players, for a brief period the predominant music delivery system on the market, would be overtaken first by digital downloads, and then by streaming music services.
A similar dynamic appears to be at play in the visual media market of movies and television shows. Despite the close resemblance of DVDs and Blu-ray discs to music compact discs, they are more comparable to vinyl records in quality of reproduction and in the way consumers use them. Blu-ray discs in particular are attractive items for ownership by collectors and cinephiles due to the outstanding quality of their video and audio reproduction, which can often outstrip what’s available for the same title on a streaming service.
Despite big manufacturers like Samsung discontinuing Blu-ray player production a few years ago because they noted the decline in the market to niche status, and similarly Warner Brothers recently moving toward ceasing production of discs, there will always be a demand for new Blu-ray players and new Blu-ray discs, however much the market shrinks for now. Just ask the manufacturers of vinyl records and the turntables needed to play them.
Police employees in Beverly Hills, California, have gotten the clever idea that they can effectively jam a live streaming broadcast of their activities by playing copyrighted music from their phones, thereby causing the automated filters of a platform such as Instagram to shut the video down for copyright infringement. The filters have been around for several years, and they can be either too aggressive or too timid unless monitored by a human being, presumably one with common sense.
The RKO Radio Pictures transmitter logo that signaled the beginning of a motion picture from that studio from 1929 to 1957. This image is now in the public domain.
But monitoring and moderating by a human being comes after the fact; to shut down a video in real time, the filters have to be automated and act independently. The police employees have figured this out and are now counting on the filters being set too aggressively so that they can exploit the feature for the purpose of frustrating citizens’ rights to film them as they go about their public duties at the behest and expense of the public. This tangled mess will surely end up in the courts.
Meanwhile, at this time like no other before, technology bestows benefits on those who enjoy listening to radio programs from around the world, whether that involves copyrighted music or not. Internet streaming of radio broadcasts has been around for decades, but never has access been as easy for casual listeners or the choices as broad as they are now. Radio Garden is a Dutch non-profit project that makes picking out a radio station anywhere in the world to listen to as easy as spinning the globe and then jabbing a finger at a green dot somewhere on it. Let police employees everywhere know that they are in the public’s domain, and that copyright – as easy as access to copyrighted works may be – is not theirs to wield as a baton.
— Techly
The first clip here is from the 1963 Blake Edwards film, The Pink Panther. The second clip is from the 1964 film, A Shot in the Dark, also directed by Mr. Edwards. Both films starred Peter Sellers as Inspector Clouseau.
“You, who are on the road, Must have a code That you can live by. And so become yourself Because the past is just a goodbye.”
— Opening lyrics of “Teach Your Children”, written by Graham Nash.
Organizers of Woodstock 50 have canceled the event scheduled for this weekend that was intended to commemorate the 1969 concert on a scale commensurate with the original. There were mounting difficulties in putting together the 2019 concert, and at the end of July the organizers threw in the towel. Instead there are small scale events scheduled for the weekend that have been organized by the Bethel Woods Center for the Arts near the site of the 1969 concert, and there are also some informal events happening at the original site.
It’s just as well Woodstock 50 fell through the cracks, because these continuing reboots of past successes have become tiresome and shallow scavenging for meaning grafted Frankenstein-like onto the present, as if clinging to the past would revive only the good times. For the promoters of such events and movies and television shows like them, there is profit to be made borrowing on memories. And since people continue paying for these popular culture revivals, there is no reason for promoters and Hollywood producers to stop digging up old things, slapping a modern sheen on them, and charging admission to the public for the dubious enjoyment of reliving the old days.
A protester holds up a sign at the March for Our Lives demonstration in Washington, D.C., in March 2018. Photo by Flickr user Lorie Shaull.
Let the past be past. “Why seek ye the living among the dead?” (Luke 24:5). Let the past be its own thing. For the important things that face everyone today and in the future, it appears children are taking the lead, while adults around them are either in denial or slogging along, many of them disheartened and looking in the wrong directions for answers. In the last couple of years, youngsters have marched in protest against legislators who drag their feet in addressing gun violence, and have struck from school and marched in protest against legislators’ unwillingness to effectively tackle climate change.
Swedish teenage climate activist Greta Thunberg is now on a sailboat crossing the Atlantic Ocean in order to attend the United Nations Climate Change Summit in New York City next month. She started striking from her school in Sweden last August, founding the Youth Strike for Climate movement, and she has attracted so much attention to the cause since then that earlier this year three Norwegian parliament members nominated her for the 2019 Nobel Peace Prize. If she wins, she would join 2014 winner Malala Yousafzai of Pakistan as the second teenage activist to win the Prize.
Greta Thunberg with her sign outside the Swedish parliament building in August 2018. The sign reads “School Strike for Climate”. Photo by Anders Hellberg.
More importantly, she will gain international validation for the cause, an essential step in repudiating and ultimately sidelining the hateful antagonism of skeevy jackasses such as British businessman Arron Banks, who tweeted to Ms. Thunberg as she set off on her Atlantic cruise “Freak yachting accidents do happen in August.” He later claimed his vile suggestion was “a joke.” Ha ha. It was a joke like the 2016 campaign trail hint from the skeevy jackass now occupying the Oval Office was a joke when he floated the idea of “Second Amendment people” assassinating his Democratic Party rival. Ha ha.
Make no mistake about it – when Greta Thunberg arrives in this country, the Oval Office Blowhard will heap scorn, derision, and personal insults on her simply for defying the power of entrenched interests in the fossil fuel industry, and his morally bankrupt cult followers will cheer him on because he will frame his invective as salvos in another battlefront of the culture war against politically correct liberals. Never mind that she is a mere child. Never mind that what she has taken upon herself is simply bringing to everyone’s belated attention the scientific fact that our house is on fire and we have to do something about dousing the flames now, not stand around arguing about it as the fire engulfs us. For bearing that unwelcome news, they will heap abuse upon her, and not reflect for even a moment on what they are teaching the children of the world.
— Vita
Crosby, Stills, Nash & Young performed at Woodstock in 1969, but “Teach Your Children” was not in their set list even though Graham Nash had written the song earlier, while he was still part of the British group, The Hollies. Crosby, Stills, Nash & Young included the song on their 1970 album Déjà Vu. Here the San Francisco Community Music Center Children’s Chorus sings the song for Mr. Nash and attendees at a Climate One conference in 2013.
Roger Ebert, the great movie critic who worked primarily in Chicago, Illinois, and over the course of his career garnered respect and influence internationally, believed movies were “like a machine that generates empathy”. By that he meant a well-made movie encourages viewers to lose themselves for a time and step into the shoes of others. There were more movies like that being made 50 years ago than there now, in the current era of comic book special effects franchises.
Stanley Kubrick took this photo in 1949 for LOOK magazine. Mr. Kubrick was a staff photographer for the magazine from 1947 to 1950, and he then went on to direct many great movies, becoming a model for other filmmakers of the New Hollywood. The Chicago Theatre was one of many movie palaces built around the country in the 1920s, and after renovations in the 1980s, it remains a popular venue for film exhibitions and live performances.
Mr. Ebert became the film critic for the Chicago Sun-Times newspaper in 1967, about the same time as the emergence of New Hollywood filmmaking, an era lasting roughly from 1965 to 1985 when Hollywood studios financed character driven films made by directors like Mike Nichols, Bob Rafelson, and Francis Ford Coppola, who came from backgrounds in theater, television, or film school. Filmmakers in Old Hollywood often came up through the ranks, and many of them were refugees from Europe, escaping the fascist regimes spreading throughout the continent in the 1920s, ’30s, and early ’40s.
Old Hollywood was vertically integrated, meaning the studios controlled production and distribution and held talent under long term contracts. All that started to fall away in the 1950s when the federal government forced the studios to divest themselves of most of their wholly owned distribution channels, which had behaved as a cartel, and as television poached audience share from the movie industry. Some star actors and directors cut themselves loose from the major studio system, forming ad hoc film companies which sought limited input from the big studios. Finally, in order to compete with television, studios more frequently rolled the dice on big budget spectaculars such as Ben-Hur or Cleopatra, and those high stakes gambles either saved financially unstable studios or sank them nearly to insolvency.
By the late 1960s, the movie studios primarily served as film financers and weren’t as heavily involved in production and distribution as they once were. Along with discarding the Hays Code of movie censorship, a relic of Old Hollywood, the changed paradigm of filmmaking allowed greater freedom and creative control for directors, actors, and writers. The result was the flowering of small to medium scale films that became the hallmark of the New Hollywood, films such as The Graduate and Bonnie and Clyde, both released in 1967, and continuing with other great films made for adult sensibilities through the 1970s.
Jack Nicholson had a breakout role as an alcoholic civil rights lawyer in the 1969 film Easy Rider, directed by Dennis Hopper, who also starred in the film along with co-writer Peter Fonda. In taking on multiple tasks in the making of Easy Rider, Mr. Hopper and Mr. Fonda were more typical of New Hollywood than they were of Old Hollywood, where vertical integration assigned discrete tasks to different individuals within the studio system, and auteurism was discouraged by studio bosses who were leery of the practice ever since Orson Welles made Citizen Kane in 1941.
Jack Nicholson was the actor who became the face of New Hollywood filmmaking, simply because he was in more hit movies than anyone else during that time. His face, voice, and acting style and choices personified the New Hollywood era. Starting with Easy Rider in 1969, Mr. Nicholson was in one successful movie nearly every year, and in some years more than one, through the 1970s and into the ’80s. He has of course been in many successful films since then, and what is remarkable in retrospect from today’s vantage point when big budget sequels and reboots of franchises are Hollywood’s major output is that he has never repeated himself nor acted in one of those kinds of movies.
Since the demise of New Hollywood filmmaking, Jack Nicholson has chosen to stay with character driven films, though the number available for his participation diminished over the years, as he related in a 1995 interview with Roger Ebert. Even Tim Burton’s 1989 film Batman, in which Mr. Nicholson played The Joker, can be seen as character driven despite its comic book origins and inclusion of special effects. It was the first film of its kind to take the source material seriously, and it was well-made by some exceptional talents.
In a later scene in Easy Rider, Jack Nicholson’s character, George Hanson, discusses the state of the country with Dennis Hopper’s character, Billy.
Unfortunately the endless variations on Batman in the 30 years since its release have grown wearisome. But the movie that started the push for a return to blockbuster filmmaking came out 14 years earlier, in 1975, when Steven Spielberg’s film Jaws appeared in theaters that summer and set box office records. Jaws was followed in the summer of 1977 by Star Wars, a film created and directed by George Lucas that started a media franchise which continues to this day. Those films, too, were well-made by exceptional talents. In the years since their release, however, those kind of films and their lesser cousins have increasingly crowded out the kind of smaller, character driven movies Jack Nicholson and the New Hollywood were known for, the kind Roger Ebert described as generators of empathy. In times when we are in need of empathy generators perhaps more than ever, we are largely left to project ourselves onto special effects beclouded superheroes.
— Vita
Video subscription service Netflix is increasing prices across the board early this year as the company finances its ever increasing production of original content. For about 4 million customers who still receive discs by mail, down from a peak of about 20 million in 2010, being asked to pay more to subsidize internet streaming content they may not want or, in many cases, be able to access, is a bit dispiriting, as if Netflix has forgotten the wisdom of the old saying “Dance with them what brung you.”
For most of this decade, Netflix has continued its disc-by-mail service as a legacy option while it focused on its streaming service and on offering shows produced in house. Customer service remained excellent even as the catalog of older movies and television shows available on disc steadily diminished. The large catalog of content from the mid-twentieth century and earlier is where Netflix really shined ten or more years ago. Blockbuster never offered as much, even in its belated transformation to Blockbuster Online. Redbox has also never had much to offer customers interested in anything other than the latest releases. Filmstruck had an extensive catalog of older, less widely popular content, but it closed shop last year.
Clipping of a news story from the May 4, 1928 edition of The Boston Post, announcing the start of television broadcasts by station WLEX in Lexington, Massachusetts.
For people in rural areas, streaming is often not an option because they have no broadband service or service that is limited either in speed or data usage. There are probably some Netflix customers who simply prefer a disc over streaming, but the majority of the remaining disc-by-mail customers are likely people for whom streaming is not a viable option. It has become a niche market, to be sure, and one that Netflix will sustain only as long as it generates enough profits to supply cash for the rest of its business. That window is closing.
Next generation television, which will increase the opportunity for local broadcasters to open more sub-channels offering niche content such as old movies and television shows, is at least another year away, and probably two or three before widespread adoption. Next generation television is a voluntary standard for broadcasters to send a 4K signal accompanied by internet data over updated and more expensive transmitters. Home viewers will need a 4K television as well as a next generation tuner, known as ATSC 3.0, and an internet router in order to take full advantage of the new broadcast technology. Viewers can still watch programs broadcast in 4K without setting up to receive the internet portion of the signal, though it’s not clear now if broadcasters will encrypt some of their signals to make them available on subscription or only for those who have enabled the internet signal.
Since the FCC has made the switch voluntary, broadcasters have much wider latitude in how they implement the new technology than they did during the transition from analog to digital, and the power of the new technology itself makes more options possible. The question is whether home viewers will tolerate the targeted advertising enabled by the internet portion of the signal, looking on it as no different than any other internet service.
Fahrenheit 451, the 1966 film adaptation by François Truffaut of Ray Bradbury’s novel, here with Julie Christie and Oskar Werner, is the kind of movie that all but disappeared from broadcast television lineups in the past 30 years. With the possibility of more sub-channels becoming available after the 4K broadcast rollout, perhaps broadcasters will once again air movies like this.
For people who already have SmartTVs and use them for internet streaming there will probably be no difficulty in adjusting; for those people in the niche market of getting their video entertainment by way of a disc in the mail and then being left to enjoy it in peace, having to cope with only minor nosiness about them on the Netflix website, the adjustment may be a step too far into creepiness. It will be interesting to see if next generation 4K broadcast television and its improved reception in rural areas, combined with a wider range of content, fills the gap being left by the general move toward internet streaming and, if it keeps broadcast television free, whether it will be an improvement over most of those services, though it is hard to imagine a local television station going as far as devoting a sub-channel to obscure art house films.
— Techly
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, 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
After numerous high profile cases of questionable use of deadly force by the police in the past few years, the cry has gone up from the public and from politicians for more widespread use of police body cameras to augment the already prevalent use of dashboard cameras in police cars. The technology does not present a difficulty since data storage capacities have skyrocketed and battery strength in a compact device has increased enough to allow recording over an eight hour shift. The difficulty is with how human beings implement the technology and whether the technology will improve how police interact with citizens.
There is evidence that when police wear body cameras the incidences of police violence and abuse of authority declines. That is, the incidences decline when a rigorous protocol for the use of the body cameras is instituted and enforced by civil authorities and police management. In some places, the police have body cameras but their use is left too much up to individual officers, and that naturally leads to the officers recording only the encounters that they calculate will make them look good. A lax protocol like that amounts to none at all. The American Civil Liberties Union has put out an excellent article detailing the best ways to deploy police body cameras and the drawbacks their use may entail.
1974 cast photo from the television series Barney Miller. Clockwise from left: Ron Glass (Ron Harris), Jack Soo (Nick Yemana), Hal Linden (Barney Miller), Max Gail (“Wojo” Wojciehowicz), Abe Vigoda (Phil Fish) (back toward camera). The show took place in the fictional 12th Precinct in Greenwich Village, New York City. Over the years since its initial airing in the 1970s, police have praised the show as a more realistic portrayal of day to day police work than many higher octane TV shows and movies.
It’s not surprising that police behave better when they know they’re being watched. The question is why they bear watching. Certainly police work isn’t like warehouse work; police work is often stressful, with the ever present possibility of a dangerous encounter, and by its nature the work involves dealing with other people every day in an environment that can be hostile. That’s the job they volunteered to do. No one drafted them. The fact that it’s not relatively placid like warehouse work is therefore no excuse for police officers acting like dangerous loose cannons when the going gets tough, and definitely not when they feel like going off on someone for some piddling reason that they will later claim “made them fear for their life”. As the saying goes, you knew the job was dangerous when you took it.
The former 41st Precinct Station House at 1086 Simpson Street in Foxhurst, The Bronx, New York, in the summer of 2007. The building was formerly known as “Fort Apache” due to the severe crime problem in the South Bronx; photo by Bigtimepeace.
The real problem is lack of accountability for officers who behave criminally, and a police culture that from academy training onward instills an “Us vs. Them” mentality. Body cameras are all well and good, and as a purely technological answer to the problem they are excellent, providing privacy issues for both the officers and the public are addressed. But body cameras will take the solution only halfway, if that. Until the public demands that criminal police officers face the kind of punitive and fiscal penalties everyone else in society must face, we’ll continue to see the same violent, bullying behavior from some cops. Paid administrative leave (a paid vacation for being a jerk!) and penalizing the taxpayers with a fine is not going to do it. How could anyone in their right mind, excepting a police union boss, expect otherwise?
The matter of police culture is harder to address. It starts with training and continues with taking away all the militaristic toys police departments have acquired in the past forty years, and most of that in the past twenty. No, you are not a soldier on garrison duty in a hostile foreign country. You are a police officer – a peace officer, if you will – at home amongst your fellow citizens, friends, and neighbors, vile as some of them may seem to your law abiding heart. Playing dress up in GI Joe gear with full body armor and intimidating your fellow citizens with armored personnel carriers and other cool stuff should not be part of the job description. Changing that macho police culture won’t happen, however, until the public stops living in fear of every little thing, handing over far too much authority, money, and blind obedience to a group of men and women meant to be our servants and not our masters, some of whom unfortunately respond to the situation by puffing themselves up with arrogance and steroids, looking and acting like goons any sensible person would run away from, rather than the friendly cop on the beat, a fellow citizen instead of an overseer.
― Techly
