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by Michael Buening

17 Feb 2010

Prior to the unveiling of the iPad in late January, the New York Times reported that many publishers were hoping that Apple’s device would resolve their industry’s difficulties transitioning to the electronic book market and “undo mistakes of the past” the same way the iPod and iTunes presented a clear and viable mp3-based business model for the troubled music industry “With Apple Tablet, Print Media Hope for a Payday”, New York Times, 25 January 2010).

The nascent iPad’s influence was visible long before Steve Job’s press conference, most noticeably in the behavior surrounding Amazon.com’s Kindle device, the dominant e-reader currently on the market. Publishers have long chafed at the way Amazon has demanded that certain e-books be priced at $9.99, similar to the way Apple prices albums on iTunes at $9.99, in an attempt to define and dominate the market. In December, Amazon offered Kindles to the employees of publishing houses at a sharp discount in an attempt to assuage bruised emotions over their competitive business practices and shore up a crucial amount of market space within the publishing community before Apple can get there.

by Alex Suskind

17 Feb 2010

Songwriter Dale Hawkins, who passed away on 13 February, penned this blues song back in 1957. Since then, classic rock staples like Creedence Clearwater Revival and the Rolling Stones have covered the track.

by Sarah Zupko

17 Feb 2010

There’s an intriguing Haiti benefit coming up this Thursday in Los Angeles centered around PopMatters #1 film of 2009, Inglourious Basterds. Quentin Tarantino and the Weinstein Company are partnering with Upper Playground to present “The Lost Art of Inglourious Basterds” from 6:00-9:00pm. Artists were commissioned to create 13 limited edition posters that will be signed by the director and sold for Haiti relief. Only six reproductions of each poster will be made, so these will be highly collectible indeed.

The gallery will be open to the general public from 6p – 9p on Thursday February 18th, 2010 at Upper Playground Los Angeles located at 125 East 6th Street in Downtown LA. The installation will remain up for four (4) weeks. Attendees will have the opportunity to purchase the limited edition prints for $300. The prints are only available for purchase at Upper Playground, Los Angeles. Phone orders and web orders will not be accepted. Prints will be sold on a first come, first serve basis. The purchase of prints will be limited to one per buyer.

by Bill Gibron

16 Feb 2010

He doesn’t have a definitive “style”. Mostly, his work seems stuck in an aesthetic no man’s land, lost between Golden era Hollywood acumen and post-modern revisionist rebellion. He strives for art and almost always succeeds. Yet his mainstream profile is often pitted with complaints of high brow brazenness and an addiction to cursing, crime, and violence. Both may be true, but not completely illustrative of this amazing American auteur. Instead, he reinvents himself with every film, following his own unique ideals while constantly staying cemented in the language of the artform.

Now, with his latest film Shutter Island set to be released after a seemingly unnecessary six month delay, SE&L looks back on ten terrific films by Martin Scorsese, arguing that in almost every one of his many movies, there’s a pivotal point of clear cinematic polish (sometimes, more than one - many more). While not nearly all encompassing, it highlights how, often, one singular scene can redefine what appears to be a standard genre offering. In Scorsese’s case, it happens so regularly that it’s almost ridiculous to point them out. We begin with one of his most underrated masterworks:

by shathley Q

16 Feb 2010

As part of the ramp-up to writer Warren Ellis’ taking over writing duties of Astonishing X-Men from Joss Whedon in the summer of 2008, Marvel released a Sketchbook to promote the visualizations of new regular artist, Simone Bianchi.

//Mixed media
//Blogs

The Moving Pixels Podcast Explores 'This Is the Police'

// Moving Pixels

"This week we take a look at the themes and politics of This Is the Police.

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