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by Mike Schiller

11 Aug 2008

Much like the odd little release schedule of two weeks ago, there are two releases this week that are valiantly fighting for my own personal affection, one of which is a tremendous, big-ticket release, and the other of which happens to be an Xbox Live Arcade download.

Seriously, Xbox Live Arcade is on a roll this month, a roll that doesn’t seem to be slowing down any time soon.

In only a matter of time, I'll have Marshawn Lynch rushing for 300.

In only a matter of time, I’ll have Marshawn Lynch rushing for 300.

Rather than cop out as I did those two weeks ago and choose co-winners, I’m going to embrace the elephant in the room and just acknowledge that the release that everyone has their eye on this week is Madden NFL 09.  The cultural phenomenon surrounding the tremendous franchise once known as simply John Madden Football is nothing short of fascinating, and despite the fact that every year I caution myself away from getting swept up in the unavoidable torrent of hype surrounding this yearly event, I can’t help but want to absorb every detail that might be hidden in every word written about the thing.  Sometimes I buy it, sometimes I don’t, but despite all of the advances that have come about in multiplayer gaming over the years, there’s still very little that is as exhilerating as getting the phone call: “I’ve got the new Madden.  You coming over?”

Of course, unfortunately for EA, much of the attention given to the new Madden game this year centers on its cover and not on any of the gameplay and graphics tweaks that it’s given the latest model of the flagship EA Sports franchise.  Specifically, there’s the presumed-to-be-retired Brett Favre, in glorious Packer green and gold, ready and willing to deliver a pass.  The cover was supposed to be a celebration of the player who exemplified the love of the game, a tribute to a man who in so many ways exemplified the best qualities of the game he played.  Now, of course, Brett’s a Jet, the airwaves have been saturated with the “saga” of his “battle” to return to the playing field, and nobody’s sure anymore whether his presence on that cover is helping or hurting the game that he is supposed to be symbolizing.

That aside, I almost want to get the Wii version of the game simply so that I can play the exclusive 5-on-5 mode.  As a playground touch football veteran myself, it may well trigger flashbacks of the “glory days”.



Of course, it’s impossible to hide my biases, and that’s why it actually crossed my mind to hand this week’s spotlight to Bionic Commando: Rearmed, the remake of perhaps my favorite game of all time.  Just having a good excuse to bust out the bionic arm again is going to be reason enough to not want to leave the house on Wednesday morning.  I can only pray that Capcom has retained the ability to take multiple approaches to beating a level, and I can’t wait to try out the Scorpion “get over here” mechanic of actually being able to use the bionic arm to pull enemies into close range.  My fingers are getting excited just thinking about this…if it lives up to the original, Bionic Commando: Rearmed might be the most fun I have with a video game all year.

Even past those two games, there are a couple more goodies on the way this week.  The DS gets Bangai-O Spirits, which should satisfy space shooter fans lamenting the dearth of such games on the Nintendo DS, and the Wii gets Line Rider 2: Unbound, which will at least be an interesting study in how to (or, perhaps, how not to) translate a flash game into a full-fledged retail title.  I mean, Line Rider is a killer little waste of time.

Check out the full release list, and let me know what you’ll be buying this week!  A Madden trailer is just past the jump.

by Jason Gross

11 Aug 2008

Once upon a time, there was a small Texas paper called Montgomery County Bulletin.  It was run and published by a guy named Mike Ladyman who did everything from delivering it to apparently taking out the garbage.  He had a writer on staff called Mark Williams who wrote a lot of the music material there.  There was a little problem with Mark’s work though.  He seemed to have copied and pasted large portions of his work from other sources and didn’t attribute any of them.  One of the people he copied was Jody Rosen of Slate Magazine, who was tipped off that this was happening.  Rosen did some online legwork and found that the extent of Williams’ unattributed writing was pretty humongous.  Rosen confronted Ladyman about this and though he was polite, according to Rosen, he wasn’t very forthcoming with details.  Rosen published details of what he found in Slate. Not long after that, the Houston Press reported that the Ladyman was closing MCB, under pressure from the criticism he’s received regarding Williams’ ‘work’ (by the way, the comments to that article are very lively and instructive, including question Williams’ very existence).  In the HP article, Ladyman provides some reasons about why Williams work slipped by him and that he let him go.  In the same article, we see a response from Williams about the affair where he lashes out at Rosen, who in turn had his own response for HP not long afterwards.

OK, so what’s to be learned from this?  Obviously both Williams and Ladyman are wrong.  Williams’ letter that HP published is a masterful example of lashing out against vicitms and actually (as pointed out in the HP comments) probably the strongest piece of writing he’s done, even if it’s all bluster and unnecessarily defensive.  No matter how much work Ladyman did for the paper, to be most charitable, he was over-extended and should have at least gotten some volunteer help so that he could really edit the paper.  Plagiarism isn’t something unique to small papers- remember Stephen Glass and Jayson Blair?  The question is, what do you do when you find out that you have problems like this?  Ladyman should have responded faster and more forthright to Rosen’s requests as the whole reputation of his paper was on the line.  He did the right thing by letting Williams go and even going further by ending his disgraced paper (even if he provided some lame excused to HP about the affair).  What bigger apology can you get than that?

Plagiarists can be a tricky bunch.  Just as Glass carefully deceived his editor for a while, I found myself in the same situation with a writer once.  When I found out that they had appropriated material from elsewhere (like Rosen, I was tipped off by a reader), I confronted the writer about this and they had a similar, angry self-righteous response as Williams.  They said how hard it is to write a story and that appropriated some parts of other stories was no big deal.  I agreed on both points but that didn’t justify what they did and I decided not to work with this writer anymore.

In the Net age, it’s a lot easier to catch these things but that doesn’t mean it’s easy per se.  Diligent readers may notice egregious similarities between stories but no one’s able to scan the span of the Web to find out when and where it’s happening (and that’s not even taking into account some articles that don’t make it onto the web).  So no doubt that this will go on in small and large ways with the writers and editors thinking they’re not doing anything wrong and/or thinking that they won’t be caught.  So, what’s to be done about this problem?  Unless you have some huge program to scan the web for similarities between each new article published and other ones out there, this is going to keep happening.

by Rob Horning

11 Aug 2008

As a teenager I was very impressed with the profundity that began Bret Easton Ellis’s novel Less Than Zero: “People are afraid to merge on freeways in Los Angeles.” It’s so metaphoric or something. Everyone is atomized and isolated in their technologically fashioned death machines, and they can’t achieve togetherness anymore. Not only that, they fear it. They no longer trust that they will let each other in; instead they are expecting a crash. An incisive commentary on our contemporary predicament.

This somewhat overwrought NYT Magazine article by Cynthia Gorney about merging reminded me of Ellis’s gambit, though the metaphoric implications are somewhat submerged, replaced instead with straightforward lessons about human behavior that can be drawn from traffic etiquette. There are two types of drivers, aggressive and polite, and they have the tendency to stalemate one another. When two lanes are forced to merge, some rush to the merge point, others get in line as soon as they can and seethe as the others pass them by and merge in front of them. Gorney is one of the latter, and she inexplicably expects New Yorkers to sympathize. You don’t have to spent to much time in New York City traffic to realize that the only rule of etiquette is that there are none, and you will be wasting a lot of emotional energy if you stubbornly expect other drivers to behave as if they are queued up to curtsy to the queen. Replacing deferential politeness on New York’s roadways is the predictability of aggressive action, the assurance that any perceived advantage will be seized. This clarity about what to anticipate from other drivers makes traffic move as best as possible in a near-impossible situation of overburdened roads.

But Gorney doesn’t seem to want to hear it when told by a California Highway Patrol officer that traffic is “not a matter of fairness or unfairness.” But the police officer is completely right. The road is not the place to stand stubbornly on ethical peccadilloes; it’s not wear you wage your private war against what you consider to be rudeness. It is a place where you respect everyone else’s right to be in a hurry by acting like you are in a hurry too.

by Bill Gibron

10 Aug 2008

He was Black Moses, creator of some stellar Hot Buttered Soul. He gave Shaft his Oscar winning authority, and broke down color barriers in the highly conservative - and Caucasian - film composer’s club. He was a member of the famous Stax Records team, ushering in hits as writer, producer, arranger, and artist. He earned an Academy Award, three Grammys, and a well deserved place in the Rock and Roll Hall of Fame (Class of 2002). And now, sadly, at age 65, legitimate legend Isaac Hayes is gone, found dead in his home by his fourth wife, Adjowa. It’s a depressing end for a man who overcame so many obstacles and inspired so much devotion, even among those who didn’t understand his own personal philosophy.

He was born Issac Lee Hayes Jr. in Covington, Tennessee. After his parents’ death, he was raised by his grandparents, and the young boy spent his early years picking cotton. After dropping out of high school, he headed to Memphis. There, his self-taught skills on the piano and organ earned him a slot in the famous Stax factory backing band. Soon, he was stepping from behind the mic to write such classic songs as “Hold On, I’m Coming” and “Soul Man” (along with partner David Porter). At age 25, he released his first album, the mostly improvised Presenting Isaac Hayes. It was not well received. But it would be his fantastic follow-up, Hot Buttered Soul, that would finally announce his rising star.

With its combination of long form covers (Hayes was notorious for turning tracks like “Walk On By” and “By the Time I Get to Phoenix” into extended jams and spoken word epics) and stunning originals, it helped a lagging label that had just lost Otis Redding to a plane crash. It reestablished its prominence in the process. Hayes would parlay that success into a pair of 1969 hits - The Issac Hayes Movement and To Be Continued. Again, he explored the classic catalog of Burt Bacharach and Hal David for a take on “The Look of Love” and “I Just Don’t Know What to Do With Myself”. But it would be the opportunity to score a seemingly unimportant blaxploitation film that would change Hayes, and the face of Hollywood, forever.

1971’s Shaft remains significant for many important reasons. First, it was one of the first mostly minority films to take the groundwork laid by Melvin Van Pebbles with his indie masterpiece Sweet Sweetback’s Baadasssss Song and turn it into a mainstream mandate. Second, it established the viability of the genre to those outside the urban setting - especially among the critical counterculture. Finally, it gave a soundtrack voice to the growing influence of R&B and soul. Hayes’ now classic wah-wah peddle tinged theme, containing lyrics that today are just as outrageous in their considered cool, became an instant smash. It earned the then 29 year old a much coveted gold statue, the first ever awarded to an African American outside of the AMPAS acting category.

This is monumental for reasons that reach beyond Hayes’ own career. It opened the door for musicians of color, paving the way for Stevie Wonder’s win in 1984, Prince’s score prize the same year, Lionel Richie’s award the year after, and perhaps most remarkably, the Three 6 Mafia’s stunning upset in 2005 (Hayes actually appeared in Hustle and Flow). His reward was not without controversy, though. When Hayes agreed to appear at the 1972 Wattstax concert, MGM refused to allow his performance of “Shaft” to be included in the resulting documentary. Claiming outright ownership of the theme, as well as the soundtrack song “Soulville”, it was an issue that wouldn’t be resolved until the film’s 2004 DVD release.

It was just the beginning of troubles for the talented troubadour. By 1974, Stax was in ruins, and Hayes sued his studio for several million dollars. Unable to pay, they agreed on a settlement which saw the formation of HBS Records. While he continued to release albums - Chocolate Chip, Disco Connection, Juicy Fruit - he was no longer a guaranteed chart topper. In 1976, he filed for bankruptcy, claiming nearly $6 million in debt. He lost most of his publishing royalties in the process. It was indeed darker times for the performer. While his albums maintained good critical buzz, the changing face of the industry - and music itself - meant more than a few years in entertainment exile.

He supplemented his music by well received turns as an actor. He got his start in another exploitation classic, Truck Turner (where he starred and also wrote the score) and had a recurring role on the Jim Garner hit TV series The Rockford Files. He got another major break from fan John Carpenter, who traded on Hayes gold chain and bald headed badass-ness to feature him as The Duke in the post-apocalyptic classic Escape from New York. Throughout the ‘80s he took minor roles here and there, working on making a comeback as a musician. Virgin signed him in 1995, and his subsequent albums Branded and Raw and Refined reintroduced him to a whole new fanbase.

So did his accidental casting in Comedy Central’s anarchic South Park. After debuting in 1997, Trey Parker and Matt Stone’s crude cartoon cavalcade became an almost instant classic, with Hayes’ Chef the show’s voice of recognizable reason (and the occasional sex-based song). Over the course of 10 seasons and one sensational film, Park provided a wonderful outlet for the aging icon. It made him instantly cool among the younger crowd, while confirming that he still had the authority and command that made him a talent and trendsetter decades before.

All seemed fine with the Park partnership until Parker and Stone decided to take on Scientology. As they had with Christianity, Judaism, and Catholicism before, the show scalded L. Ron’s revisionist faith in an episode which also tweaked Tom Cruise and John Travolta. Hayes had joined the ersatz religion in 1995, and did not appreciate the series satirizing his beliefs. He argued that his newfound conviction had helped reestablish and center his success, and unless Parker and Stone abandoned the idea, he would be forced to leave. He did just that in 2006, and the split remained acrimonious up and until his death.

While there are many sides to the story (for their part, Parker and Stone stand by their decision), what’s clear is that, once outside the limelight again, Hayes’ fortunes failed. In 2006, he suffered a stroke, though many inside his camp denied it initially. This past April, his appearance on Adam Corolla’s radio show suggested that he was losing some of his faculties. He found it hard to answer questions and blamed his blankness on aphasia, a disorder driven by his diminished capacity. Some four months later, he was discovered motionless alongside his treadmill. He was pronounced dead upon arriving at Baptist Memorial Hospital in Memphis.

As with any loss, the tragedy tends to temper the particulars of the past. Eulogy wipes out the bad while amplifying the already known good. In the case of Isaac Hayes, we need both sides of the story. For everything he did right in his benchmark career, he made mistakes that added even more mystery to his outsized enigma. He could be suave and smooth. He could also be cold and very calculated. Combined together, they explain how Hayes could break down the color barriers of Hollywood. They also clarify his late in life conversions and out of character choices. The good thing is that Isaac Hayes will always be remembered as the prophet of soul. The bad thing is that the very things that made him an indisputable icon will probably be lost to legend - and maybe that’s where they belong.

by Jason Gross

10 Aug 2008

One of the many reasons that I’m glad that I’m not a professional musician is the fun job of having to field requests at shows.  I’ve seen some performers fend it off with good humor (Neil Young once dryly telling a crowd “thank you for reminding me of the names of my songs”) but it has to get tired after awhile.  I admit I’ve yelled “Free Bird” at plenty of shows when I was younger until I realized what an old, pathetic joke that’s become.

Then along came a series of posts to the MusicThoughts mailing list about the subject.  By far, the funniest and wisest response came from Laura McLean, a North Carolina indie rock fixture.  Her answer to the eternally perplexing questions ‘how do you politely turn down requests?’ is worth detailing.

“I used to put a price board up for requests I didn’t have much inclination to play anymore..
Sweet Home Alabama $500
A Pirate Looks at Forty $500
Stairway To Heaven $1000
Bobby McGee $2500
I’ve since mellowed, (lol) and will do wak rap renditions which pretty much put the kibosh on the whole request mood..if done correctly..”

For you non-Parrotheads, the third one is a Jimmy Buffet tune.  But there’s more… Laura adds a few more tricks she has up her sleeve for the problem.

1. The old Reagan trick.. cup your ear and pretend you don’t understand
2. Say you just did it before they came in (funny for those who have been there the whole time)
3. Say that song was playin when someone dear to you died, and you can’t bear to even… (let your sentence trail off and play a mournful instrumental)
4. Hell NO! works, too, if you smile mysteriously and send over a beverage..

Musicians take note though I guess you have to be careful about overusing some of these as crowds might eventually wise up to the game.

As you can already guess, McLean has some talent that’s worth attending so you should check out her MySpace page and her website.

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