Category Archives: Entertainment

The origins of Oregon Trail

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While looking at a column that included some thoughts about the book American Grace, I stumbled across the story of how the computer game Oregon Trail became a sensation. Here is what happened in those early days:

Minnesota’s City Pages tells the story of the game’s early days, when it was an underground sensation, played only by Minnesota schoolkids through a teletype machine installed in a janitor’s closet.

The Oregon Trail — a computer game in which players go on a simulated wagon journey out West, making key decisions along the way (take the Donner Pass or go around?) — was invented by a group of nerdy, computer-programming public school teachers in 1971. It was originally conceived as a board game, but Don Rawitsch, Bill Heinemann, and Paul Dillenberger (all Minnesotans) quickly realized its potential as a computer game, and spent two weeks programming it on a middle-school teletype terminal. Their students played the game without a screen, by taking turns pecking out commands on the console, which forwarded them on by telephone to a mainframe computer; the game’s prompts (“You have dysentery”) came out of a printer. In subsequent years, the game was accessed by kids statewide through the same method.

Everything changed in 1978, after a handwritten bid was submitted by Steve Jobs and Steve Wozniak of Apple Computer, then just two years old. Apple IIs were installed in schools throughout Minnesota, and the game was rewritten in the form in which millions of students have encountered it since then. Over the past 40 years, 65 million copies have been sold, making The Oregon Trail the most widely played educational game of all time. Nowadays, you can play it on your iPhone for 99 cents.

The Oregon Trail wasn’t just one of the first computer games — it was, as City Pages’ Jessica Lussenhop points out, “one of the first simulation computer games.” In fact the emphasis, for its creators, was on simulation. Looking back, one of the most striking things about the game is its accuracy: The programmers pored over actual settlers’ journals to figure out exactly how often players should break their wagon wheels, get sick, or meet helpful Native Americans, and painstakingly integrated those probabilities into the game. The Oregon Trail made pioneer history more fun — but it also made it more accurate.

Another innovation brought to you by Apple.

In conversations with other people my age, many of whom grew up playing Oregon Trail at school or at home, there is both joy and nostalgia when anyone brings up this game. Looking back it, it isn’t terribly complicated, the graphics were limited, and I’m not sure how much we actually “learned.” Perhaps it was the fact that it was a video game that one was allowed to play at school (along with other beloved games like Where in the World Is Carmen Sandiego?). However, I must ask: by playing this educational game and the others that followed, have students become more knowledgeable? Have these games contributed to rising educational achievement? (I think the answer to both of these is probably no or the impact is very limited.)

It is also interesting to see this idea that Oregon Trail was one of the first simulation games. I have long been a player of a few of these games, most notably Simcity, starting with a 386 version on a monochrome screen.

The quality of music in a post-Napster world

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David K. Levine over at Against Monopoly pointed me to a recent paper (PDF) by economist Joel Waldfogel at the University of Minnesota titled “Bye, Bye, Miss American Pie? The Supply of New Recorded Music since Napster”.  As the title implies, Waldfogel investigates the effects of Napster (and its file-sharing progeny) on the music industry:

Economists generally agree that monopolies are bad. Governments grant some of the basic textbook examples of monopolies for intellectual property, in the form of patents and copyrights. Their bad effects – allowing prices above marginal costs and therefore restricting the supply of output – are thought to be justified by their incentive effects on production. But apart from introspection and anecdotes, we don’t really know much about the effects of remuneration incentives on production in the music industry.…Does the prospect of greater rewards bring forth more music? If so, then the past decade, when the ability for sellers to generate revenue from recorded music has fallen as much as half, should be a dry period for music. This is the question we address in this study. [emphasis added]

Noting that other studies have found undiminished musical output (in terms of volume) in the post-Napster world, Waldfogel attempts to measure musical quality using “a time-constant quality threshold based on critics’ retrospective lists of the best works of multi-year time periods”:

Using indices collectively covering the period since 1960, we document that the annual number of new albums passing various quality thresholds has remained roughly constant since Napster, is statistically indistinguishable from pre-Napster trends, and that album supply has not diverged from song supply since iTunes’ revival of the single format in 2003. We also document that the role of new artists in new recorded music products has not diminished since Napster. [emphasis added]

Waldfogel’s findings will unquestionably prove controversial in many circles.  And, to be sure, copyright policy may be based on considerations other that mere economic efficiency (e.g., John Locke’s labor theory or artists’ moral rights).  If Waldfogel’s findings are verified and generally accepted on their own terms, however, the economic policy implications seem clear:

It is easy to see that file sharing simply increases welfare. Producers lose, but their losses – when consumers steal things they used to pay for – are all transfers to consumers, who now enjoy greater surplus (the price they had formerly paid plus the former consumer surplus). In addition to the transfers from producers to consumers, file sharing also turns deadweight loss – circumstances in which consumers valued music above zero but below its price and therefore did not consume – into consumer surplus. In a purely static analysis, eliminating intellectual property rights benefits consumers more than it costs producers and is therefore beneficial for society.

Read his lips

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Perhaps realizing how much money Charlie Sheen’s endorsements are worth these days, the U.S. Patent and Trademark Office recently decided to trumpet the fact that Mr. Sheen is also the proud recipient of U.S. patent #6,283,658:

Charlie Sheen’s patent for a “Chapstick Dispensing Apparatus.”  Patent No. 6,283,658 was granted on September 4, 2001 to inventors Carlos Irwin Estevez and Rodger D. Thomason and assigned to Masheen Inc. in Los Angeles.

You can smack your own lips over all 14 pages here.  Hat tip to Scott Walshon, friend and patent examiner, for pointing me to the link.

Quick Review: 21 by Adele

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Even though I listen to a good amount of music, it is still somewhat rare to find an album that really captures my attention. The latest new album to achieve this status is 21, is the recently-released album from British songstress Adele (Adkins). The album has been on the Billboard charts for three weeks since its release, peaked at #1 and now sits at #2 in the Billboard 200. A few thoughts about this album which I have been listening to non-stop for a week:

1. The overall theme of the album is heartbreak – but it sounds like a soulful, engaging sort of heartbreak, the kind you actually might want to hear about over and over again.

2. I particularly enjoy several of the songs. The two songs to open the album are quite good and will make good radio singles. But two songs in the second half of the album are also quite good: Track 7, Take It All, and Track 9, One and Only. Track 7 is just Adele and a piano. Track 9 adds some other instruments but still is just Adele and her feelings.

3.  The arrangements on these songs, similar to the first album, are set up to showcase Adele’s voice. Even when she deviates from the melody, it doesn’t sound like she is preening or showing off.

4. Speaking of the songs, I read a review (or a couple) that mentioned how a lot of the songs sounds alike. I can kind of see the point: once you get past the first two songs, the rest mine similar lyrical ground and primarily feature Adele. This is not an album that has a lot of twists or turns with multiple styles of music or words. My thoughts on this are that the album doesn’t deviate from what Adele does well. To get something different, we’ll have to wait until the next album.

5. One thing I like about the the whole album is that it is unified and does seem to fit the title, a reference to Adele’s age when much of this was put together. This is exactly the age in which you would expect to hear about these upfront and raw emotions. I hope Adele can continue this age-related trend on future albums; this would give us a sort of lifecourse approach. While I think many musicians do this (check out how the themes and styles change as musical artists age and are no longer the young stars they once were), Adele’s first two albums have been more explicit about this. So can the next album, presumably something like 23 or 24,  examine the quarter-life crisis?

(According to Metacritic.com, this album gets “generally favorable reviews” with a composite score of 76 out of 100 based on the thoughts of 29 critics.)

(A side note: I believe the next music album I will review is Arcade Fire’s The Suburbs. While I have heard a lot about this band in recent years, I bought this album, the first one I have purchased, on the same day I bought the Adele album. There are two reasons I want to listen to and review this particular album: the band gets good reviews and the subject matter, suburban life, is right up my alley. As far as I know, there are not too many rock albums that explicitly address the suburbs.)

Two Italian film directors describe Roman suburbs

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Two Italian film directors discussed their new film Et In Terra Pax, which is set in a “Roman council estate” in the Roman suburbs.  Here is how they described these Italian suburbs:

?MB: I was thinking a lot about a story set in the Roman suburbs…

MB: We live in part of Rome both close to the centre and the suburbs, which was useful to observe without being involved. We like Roman suburbs, and we think that in suburbs you can breathe the real Rome. The centre is great but it’s for tourists, rich people or to spend Saturday nights. Real live [sic] is somewhere else…

Can you talk about the idea of the housing complex being like a prison?

DC: A lot of suburbs in Rome are characterized by this kind of view: big grey buildings, a kind of ghetto filled with people. A city can’t grow in this way because the risk is that people can be excluded from the rest of Rome. We consider the building we chose like another character, a metaphor for loneliness. It looks like a prison but it’s full of life and ready to explode (in a good or bad way) at whatever time.

Et In Terra Pax is not an international audience’s image of Italian life. Was it important to show this side of life?

DC: Sure, we think it’s very important to show the dark side our country, not only for international audiences but also for the Italians too.

Compared to the typical American portrayal of suburbs, the land of single-family homes, lawns, and kids running around, this is a different image: large apartment buildings built away from the vibrant city center and illustrating the “dark side” of Italian life.

This discussion hints at how some European suburbs differ from their American counterparts. While most Americans see suburbs as the refuge of the wealthy, some European suburbs are where the low-income apartment buildings are built. The center of the European city is the place to be, not the outskirts of a metropolitan region as in the American case.

I am also intrigued by the idea that the apartment building is treated “like a character.” Elsewhere, they say the building they filmed in was about 1 kilometer in length, housed about 14,000 people, and features “strange, fascinating and disturbing architecture.”

New ABC pilot: Suburgatory

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Here is a short description of Suburgatory, a new comedy pilot for ABC:

Suburgatory has been dubbed a satirical look at life in the suburbs that centers on a New York City woman who moves to a cookie-cutter community only to realize that life there is much more frightening.

Hasn’t this “satirical look at life in the suburbs” been done a number of times before? From The Stepford Wives (review of the original and the remake) to Desperate Housewives, this seems like well-traveled territory. What will set this show apart and how frightening can the suburbs get? This could be just another piece in the suburban genre.

The premise of the show seems to go against what most Americans have sought in suburbia. For many, the city is the frightening place and the suburbs represent safety, good schools, and more space. This is not to say that the suburbs don’t have their problems; they certainly do. But to go so far as to say that life is “more frightening” in the suburbs seems strange.

And if the suburbs are a place like purgatory, where exactly would a show like this (and other stories like it) say heaven and hell are located?

Australian commentator: movies don’t depict the suburbs

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A writer in The Daily Telegraph suggests that Australian films have not told the stories of typical, suburban life:

Yet it’s not the working class who are neglected.

In fact, according to our films, these are the only people who inhabit Australia.

For all the frustration that exists among moviegoers as to an over-representation of bleak morality tales, it’s this unspoken class warfare that goes unchecked.

From salt-of-the-earth drovers to down-on-their-luck-gangsters, we’re traditionally very fond of our battlers. It’s the prospect of venturing near a McMansion, 4WD or flat-screen TV that seems to paralyse our finest scriptwriters.

The aspirations of families in tree-lined suburbia all too rarely catch the eye of local filmmakers. Perhaps it’s all a bit common.

We pride ourselves on telling real tales, but we don’t want to get too real…

We have been too busy wallowing in the down-and-out to delve into where and how most of us actually live.

An interesting take. I have had the impression that Australia is more suburban than other industrialized nations but it is difficult to find data to back this up. (I spent about 25 minutes searching the Australian Bureau of Statistics website and it appears that at least part of the issue is how the Bureau defines suburbs. While the American Census Bureau essentially says suburbs are the spaces between central cities and rural areas, it appears that Australia tends not to make these clear distinctions. There may be Inner Sydney and North Sydney and Outer South Western Sydney but they are all part of Sydney.) We do know that in late 2009, the average new Australian home was bigger than the average new American home.

More broadly, this doesn’t seem to have been a problem in American media and entertainment. Whether we look at novels or TV shows or movies, the suburbs are a common setting. We could argue about whether these depictions of suburban life are accurate. There is a long history of suburban stories serving as suburban critique: the characters are often portrayed as being unfulfilled, shallow, and unsophisticated. Additionally,  the “typical” TV sitcom or movie family tends not to be that typical: their homes are fairly large, money or subsistence issues rarely come up, and the family always end up in wacky situations.

Quick Review: Catfish

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Perhaps we could consider the movie Catfish a companion to the more publicized film The Social Network (reviews from Brian here, Joel Sage here): both films consider the effects that Facebook and other digital technologies have on our world. But while The Social Network was a stylized retelling of the founding of Facebook, Catfish covers the lives of more ordinary people as they use these technologies to search for love. Here are a few thoughts about this film:

1. The story revolves a guy, Nev, from New York and a girl from Michigan, Megan, who build a relationship built around a Facebook friendship, IM chats, text messages, and phone calls. Both parties are looking for love though why they are doing this ends up being the plot twist of the film.

1a. I think what makes this film work is that Nev is an appealing character. Even though he hasn’t met Megan in the early stages of the film, he falls hard and ends up giggling and swooning like a teenager. But when things turn out to be more complicated than this, he still finds a way to make sense of it all.

2. More broadly, the film presents a question that many people wonder about: can two people really build a lasting relationship through Facebook?  While this is an interesting question, research on Facebook and SNS (social networking site) use suggests most younger people are not looking to meet new people online. Rather, they are reinforcing existing relationships or reestablishing past relationships. And this film deserves some credit: whereas a film like You’ve Got Mail suggests that email and other electronic communication work the same way as traditional dating (and the typical romantic comedy happy ending), this film introduces some complications.

3. The Social Network seems to suggest that technology helps keep us apart. (A side note: this seems to be an argument from the older generation talking about younger generations. One thing I wonder about The Social Network: was it so critically acclaimed because it fed stereotypes that older people have about younger people? How much did the characters in this film resonate with the lives of younger film-goers?) In that film, Zuckerberg founds Facebook in order to join the in-crowd, is being sued by two people after arguments related to developing community-building websites,  and at the end, he is shown still searching for a connection with a girl he lost years ago. Catfish seems to make an opposite argument: despite the imperfect people who try to connect online, the film suggests there is still some value in getting to know new people. When Nev’s love becomes complicated, he doesn’t just withdraw or call it quits – he tries to move forward while still getting to know Megan.

4. This film claims to be a documentary though there is disagreement about whether this is actually the case. Regardless of whether the film captures reality or is scripted, it is engaging. (The presentation seems similar in tone to Exit Through the Gift Shop, reviewed here.) Have we reached the point in films where the line between what is real and what is written doesn’t matter? And should we care or do we just want a good story?

Overall, this film seems more hopeful about the prospects of Facebook and other digital technology. With a documentary style and an engaging storyline, Catfish helps us to think again about whether people can truly get to know each other online.

(This film was generally liked by critics: it has a 81% fresh rating, 109 fresh out of 134 total reviews, at RottenTomatoes.com.)

Fair comment

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A mea culpa note: I originally wrote this post about a week ago.  At that time, I thought that SF360 was moderating their comments and not approving mine, for reasons that I implied might have something to do with the policy position of my remarks.  I was wrong — there was an innocuous, technical reason that my comment did not post.  Thanks to SF360’s editor Susan Gerhard for helping me get my comment up, and my most sincere apologies to her and everyone at SF360.  I made a mistake, and I thank Susan for being so gracious in the way that she corrected me.

***

I made a comment recently on a SF360 article titled “What you Need to Know to License Music for Film”.  Here is the relevant bit of the article that I was addressing:

Licensing can be a complicated, frustrating process. Yet, the copyright owners have exclusive rights over the music and using the music in a film will generally not be considered a fair use. Therefore, to avoid litigation a filmmaker must acquire the necessary licenses before including any music in their film. [emphasis added]

As I wrote in my comment, this characterization of fair use is, at best, highly misleading:

George [Rush, who wrote the article] says that “the copyright owners have exclusive rights over the music and using the music in a film will generally not be considered a fair use.”  This is simply not true; there are a lot of uses of music in films — particularly documentary films — that can be considered fair use.  There is a Documentary Filmmakers’ Statement of Best Practices in Fair Use, and there are even companies that issue errors and omissions insurance based on fair use claims.

Before using any music in your film, you should definitely seek legal counsel.  But don’t assume that you *always* have to license music.  Despite the grumblings of music labels, fair use still exists.

George is right that the issues are complicated and that sometimes hiring a professional (like him) to help negotiate various music licenses is the proper way to proceed.  But that’s not always true.

Play considers what it was like to grow up in Naperville

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Since the post-World War II suburban boom, a number of writers, filmmakers, musicians, and others have considered suburban life. Mat Smart, a playwright who grew up in Naperville, has a new Steppenwolf play about growing up in that community:

Though Smart acknowledges that part of the play’s genesis stems from a trip he took to Cameroon five years ago, the issues explored come from the same place where he grew up. Smart said the brothers, whom he described as “very much suburban Chicago dudes,” have differing views of growing up in Naperville.

Samuel K., the adopted brother, enjoyed living there, while Samuel J. complains about it and says the people living there are shallow.

“That was the same discourse among some of my friends when we were growing up,” Smart said. “Some people love it and some people hate it. But you’ll probably find that anywhere in the world.”

This sounds like it could be a different view than many works that simply suggest living in the suburbs is one of life’s worst fates.

The play also contains some dialogue comparing Naperville to another Chicago suburb:

The play also includes a humorous exchange between the brothers poking fun at the underlying attitudes some Naperville residents hold toward neighboring Aurora.

Samuel K. tells his brother, “Stop dumping on Naperville. We’re lucky to be from there. We could be from a lot worse places.”

“What, like Aurora?” Samuel J. says.

“No, like Rwanda.”

This exchange hints at how suburbanites view the character of other suburbs. For some Naperville residents, Aurora would be considered beneath their community with comparisons made between schools, crime rates, housing prices, downtowns, and more. Historically, Naperville thought Hinsdale was above it as it had a wealthier population. These sorts of comparisons between suburbs are not always explicitly stated but I suspect are commonly held among suburbanites.