Latest Blog Posts

by Rob Horning

29 May 2009

I just crashed through two weeks of blog posts on my RSS reader and my brain has become a bit scrambled. I feel I must now blog about just about everything in the world in one comprehensive post and find some way to tie the 30 or 40 posts I starred together into one master narrative, one grand theory of everything (and that’s not even considering all the HRO Exegesis posts I need to write). Maybe I should put another pot of coffee on.

One thing I discovered was that Richard Florida’s newish blog at the Atlantic has been consistently compelling over the past few weeks. He has had a series of posts about evolution in the music industry, positing the theory that the music business is a media-industry canary in the post-internet coalmine. In this post, he notes that in some ways the industry is retreating from forms that had become technologically necessary—the album, thanks to vinyl, the 74 minute CD, etc.—to the forms that may arguably be more “natural” to pop music:

But the enormity of the creative destruction sweeping the industry goes far beyond the iPod killing off the CD. The Gang of Four’s Dave Allen argues that we are seeing the “end of the album” - a construct initially created by the limitation of vinyl technology in 1930 - as the organizing principle of musical production. He sees this as potentially liberating for musicians - or those musicians that can adapt. Industry veteran Bob Lefsetz predicts a return to the pre-LP era, when artists constantly pumped out singles and toured. He even draws a comparison to the way that Toyota has succeeded by building a reputation for reliability gradually through word of mouth.

by Chris Barsanti

29 May 2009

There’s always another sucker. It’s a truth that was just as real back in the Great Depression as it is today in the post-Bernie Madoff present. Frank Partnoy’s The Match King—which should be required reading for every financial whiz or businessman who claims to be performing due diligence on a too-good-to-be-true investment opportunity—is not just a proof of that truism but a painfully captivating account of just how easily those suckers are found and fleeced by the Madoffs of the world.

The Roaring Twenties Madoff whom Partnoy profiles here is Ivar Kreuger. Although his contemporary scammer, Charles Ponzi, would lend his name to history, the comparatively forgotten Kreuger had an audacity and vulpine cunning that made Ponzi look like a piker. The so-called “Match King” was a charming and erudite Swede who had parlayed his father’s small match factory into a formidable international presence (by 1929 his factories made two-thirds of the world’s matches). Before the Great Crash, Kreuger had made himself into a kind of Wall Street Renaissance man, dazzling the society pages and investors with his wit and acumen. That his success in the markets was based on a tissue-thin skein of dodges, bogus reporting, and shell companies, would all come out later, after the crash.

Kreuger paid the kind of high and steady dividends (25 percent, regular as clockwork) that made investors salivate, as did his rapier smarts and Byzantine investment schemes. Much like those who clamored for entry into Madoff’s magical mystery funds, or threw their pension dollars at baffling derivative instruments hawked by too-big-to-fail banks (some of which have now, of course, failed), Kreuger’s suckers seemed actually reassured by how little they understood of what their fairy financier was doing.

Partnoy, a wise student of human weakness, writes about the reactions to one of Kreuger’s more inscrutable fiscal concoctions:

The convertible debenture derivative looked too good to be true, and that was exactly what investors wanted…. Americans gobbled up these new instruments, whether they understood the details or not.”

Eventually, Kreuger would fall, as they all do. Unlike Madoff, whose legacy will be counted mostly in countless (and frequently nameless) ruined lives, Kreuger would put his own stamp on history, even if his name didn’t quite survive. According to Partnoy, the securities regulations put into action by a chastened government during the 1930s were created almost entirely as a result of the Match King’s sleight-of-hand. “Simply put, without Ivar Kreuger, modern securities regulation and litigation would not exist.”

Of course, those regulations couldn’t stop the current crisis. Nothing apparently can stand between a sucker and a guy offering them easy money whose only condition is not asking any questions.

by Mike Schiller

28 May 2009

My blog about how Wolverine's racist imagery was overlookedin the wake of Resident Evil 5 fatigue will have to wait.

These are days when I wish everyone followed the Google-popularized mantra of “Don’t Be Evil.” The concept of the pre-order bonus is not a new one: buy the game early, get a little something extra for being so darn sure of your purchase.  It’s not a difficult concept to grasp, and despite the after-the-fact howling of the terminally wronged, it makes sense from a business standpoint to throw in an incentive to get people to buy a given product at a specific place.  Time was, you’d pre-order a game, or a CD, or a DVD, and maybe you’d get a poster, maybe you’d get an action figure, maybe you’d even get a little bonus CD with some exclusive (or, at least, timed exclusive tracks).  The huge fans pre-order it to make sure they get the prize; everyone else just gets the product when and where they feel like it. This has recently become something of a phenomenon in gaming arenas—Atlus has the pre-order business down to a science, what with soundtracks, plushies, posters, and all manner of other bonuses awaiting the Atlus Faithful, and the just-announced Guitar Hero: Smash Hits pre-order bonus extravaganza features everything from drumsticks to discounts, depending on where you order it from.

by PopMatters Staff

28 May 2009

Silversun Pickups just recorded a bunch of live songs for Yahoo Music.

“Panic Switch”

“Growing Old Is Getting Old”

“Lazy Eye”

by PopMatters Staff

28 May 2009

Laura Izibor
Let the Truth Be Told (Atlantic)
releasing 16 June 2009

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