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back-and-totheleft · 4 years ago

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“The Doors” Turns 30

Oliver Stone, 74, is seated for a Zoom interview at his home office in Los Angeles. He’s just finished reading an email proposing he direct a film about Led Zeppelin. “I don’t know much about them, frankly," Stone admits. "They were never really my band.” The Doors were his band. On March 1, 1991, the universe got its first look at The Doors — Stone's beautifully irrational biopic about the late '60s rock group led by Jim Morrison (played by Val Kilmer, then 31, amid a Method-acting spectacle). The result is an R-rated feast that acts as an extravagant rejection of puritanism and "Just Say No." It is campy, erotic, deeply disturbing and smoldering like a pagan bonfire.

On the occasion of its 30th anniversary, Stone talked to The Hollywood Reporter about the legacy of his film, psychedelics, Bohemian Rhapsody and Val Kilmer's masterclass as Hollywood's first and only Jim Morrison.

The cinematography in this film produces some astonishing eye candy.

We used a lot of filters. We had to go back into the past. We had everyone dressed in period, which was very expensive. We were also taking chances that we normally wouldn’t. We were growing in our boldness. We wanted to challenge all the ideas. We had no rules, no limits, no laws.

At least for my generation, the film has come to symbolize a darkly funny and dizzying parody of the “cock rocker.”

That was never my intention. I’m a little square, perhaps, for your taste, but I worshipped Morrison. I thought he was a great force breaking through to the other side. He was saying things that needed to be said. It was being said by others: Jefferson Airplane, The Beatles, and so on. But he was the only one that was really going into the erotica as much as he was. Of course, he talked about Indians, shamanism, but back then, we were coming out of the '50s. It was a very different time. He was liberated. He was sexy as a man. He felt at ease with himself. And he carried on as if he were a free man. I worshipped a free man. I’m actually one of the people who really likes his lyrics. Some people make fun of them.

The Doors feels like a rebuke of the Bush era and "Just Say No." Was Morrison acting as your mouthpiece when he was screaming at us that we were all "a bunch of slaves?"

Yes. The things I say sometimes don’t go down so well. But I don’t agree with so much of what’s going down. I still don’t. I haven’t changed. If anything, I’m worse. His timing may have been off when he said, “You’re all a bunch of slaves.” He was a philosopher.

Critics focused on the lack of historical realism in this film. But it’s a fantasy. Morrison himself was a kind of myth-maker. What do you think is rooted in the obsession for realism in a film about Jim Morrison?

By this time, I had been taking so much flak. I don’t mean to self-pity, but my God, I had just done Born on the Fourth of July, Talk Radio and Wall Street. I was exhausted by trying to be realistic. This was freedom. It was like tearing your clothes off and breathing. It was about going out and having fucking fun making a movie. After JFK and Heaven & Earth, I did Natural Born Killers. Again, I wanted to be free. I get off on those films.

I first discovered this film as a teenager. It somehow captured rock 'n' roll at its purest.

Thank you. I didn’t really have the connection to music that other people had. A lot of filmmakers study music. I didn’t. I just followed a god that I liked. You see, I heard him in Vietnam for the first time. I was doing LSD on R&R [rest and recuperation] — not in the field — but we were discovering LSD and realizing you really had to pay attention. Morrison had done enough LSD to really understand it. It’s a powerful consciousness journey. I never stopped. I kept going in that direction with all kinds of drugs.

Did you experiment with any psychedelics while you were making this film?

I was high, in a sense, by osmosis, but I had the attitude to just free your ass and your mind will follow. I think people would say I was pretty wild as a director. But I was not getting high on the set. Yeah, the occasional grass here and there, but I wouldn’t do anything on the set. Off the set, I had some fun. I had a friend, Richard [Rutowski], who played Death in the film. I wanted to go back to South Dakota, with the Sioux, and do this peyote ceremony with a very powerful shaman. And we did it. We got to this place on the reservation and got fucking high beyond belief. It was a big trip. A lot of Indians were involved. Strong peyote. And then we flew back. I was dead on Monday morning when we shot the peyote scene. I had no energy as a director.

What were some of the political challenges involved in making this film?

I guess I didn’t know the barriers back then. Paul Rothchild [the band’s producer] was a key figure. He was with us all the way. I never got that from the bandmates. They didn’t seem to know him that well. Certainly Ray Manzarek thought he knew him. Ray did not cooperate in any way. In fact, it was a very disagreeable relationship for me. And of course, when the movie came out, boy, he was tearing it down from the beginning.

I found Ray Manzarek accusing you of “assassinating” the character of Jim Morrison to be pretty remarkable. I honestly don’t think anyone knew the real Jim Morrison (not even Manzarek).

Jerry Hopkins, who wrote the book [No One Here Gets Out Alive, 1980] left me 120 documents of interviews he did with people who knew Morrison in the beginning, from grade school to the very end. And if you read these 120 versions of his life, it’s like Citizen Kane. That’s what he was to this person or that person. In the interviews, there were several women, my God, sexually, he was all over the place. He wasn’t necessarily impotent. Perhaps that occurred later, when there were issues — which did bother him. But you saw in the loft scene with Kathleen Quinlan, when he has an orgasm. And that’s the truth of the matter, he had orgasms with intensity that came from intense situations. That was the only way he could get off — dangling from a window may have worked for him.

Morrison seems like the original “cock rocker.” I think he understood that he was a sex symbol.

Well, they made him a sex symbol. Part of the reason he started drinking was to probably run from that. He was not comfortable with publicity. I do believe he was inherently shy. Girls would come at him, and according to Paul [Rothchild], he ended up talking to them all night. He loved women. He talked them to death. But it wasn’t about sex. It was about something in his mind he had to work out. He was running toward death.

He was a sex symbol who was said to have been impotent. He seemed to be struggling with some kind of imposter syndrome. Was he crucifying himself?

I do believe there was a lot of self-hatred. He’s a deep man. If you really want to know him, look at the lyrics. There’s a lot of depth there that people often miss.

JFK (1991) provides a panorama of possibilities regarding the JFK assassination. With this film, you end with Morrison in a bathtub under a kind of amber glow. We don’t know what has happened to him. He’s just beautiful and dead. Were you trying to leave the cause of his death open to interpretation?

It didn’t make any difference to me if he was on heroin or not. In the movie, you have to assume he was. But he was half in love with death all his life. An American Prayer is filled with images of death. I don’t think Morrison made the normal difference between life and death. It was a boundary that he crossed many times. He was ready for death. I found the scene tranquil. Like the ancient Romans cutting their wrists, I didn’t see the fear of death in him. As a shaman, he saw it as a transition to continue life in another form. I would have loved to see him survive Paris. I think he died by accident. I do feel it was an overdose of something. I do feel like he was doing it to accompany somebody he cared about. I think his plan was to come back and be a writer. I think he would have been a really interesting writer and philosopher for American society into the '80s, '90s and even today. He got robbed early.

Looking back at his phenomenal performance, do you feel Val Kilmer was snubbed for an Oscar nomination that year?

I do feel he was slighted. It was a once-in-a-lifetime kind of performance. I certainly know the pain and the sweat he put into it. But I kind of knew The Doors was doomed because of the hijinks Morrison was going through. In other words, it was a crossing-the-line kind of movie. It’s become more acceptable now. But this is 1991. You gotta look back. Certainly Val deserved it, but also the sound: There were so many sound breakthroughs and editing breakthroughs in that movie. We were using some new methods. The sound work by Paul Rothchild and that group was unbelievable. The fact that Val was singing about 70 percent of his stuff was pretty significant.

I feel like a lot of today’s rock biopics, like Bohemian Rhapsody, are pretty sterile. They feel more like marketing films.

I don’t want to be negative on that. I wish we had made the money Bohemian Rhapsody had made. Look, every film has to be marketable. The Doors was not. We just made an outlaw film because [producer] Mario Kassar was out of his mind. He was willing to gamble. He didn’t give a shit about all that stuff. He was a pirate. He made films against the grain.

In the final shot at Père Lachaise cemetery, we zoom in to a bust of Jim Morrison placed on his gravestone. It’s a beautiful documentary-style shot scored to “A Feast of Friends.” It really takes us to the end. Wasn’t the bust stolen in 1988?

It was. The bust was our creation. It was based on Kilmer and not on Jim. But what the press never seems to understand when they describe it as a “rise and fall” is that he wasn’t falling. He was moving through life as an explorer. Some of his best work is in [1978's posthumously released L.P.] An American Prayer and [1971's] L.A. Woman. I didn’t see the decline. I guess what I’m saying is that you don’t die when you’re Jim Morrison, you just move on.

-Art Tevana, “Oliver Stone Recalls 'Doors' Inspiration as Jim Morrison Biopic Turns 30,” The Hollywood Reporter, Mar 11 2021 [x]

#art tevana #jim morrison #oliver stone #the doors #val kilmer #the hollywood reporter #bohemian rhapsody #music #rock and roll #led zeppelin #30th anniversary #cinematography #drugs #LSD #peyote

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super-famicom-star-inactive · 4 years ago

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Friday Special #4

November 20th, 2020

Welcome back to another Friday Special!

For this week, we’ll be looking into a console that many of you have probably never heard of, or thought about.

That’s right, this week is about the Nintendo Famicom, Nintendo’s first major home console!

Okay so for a lot of you, 9 times out of 10 you probably don’t really know what a Famicom is and some of you may have never even seen one.

They’re actually really cool!

So for starters, the original Nintendo Famicom was released in Japan back in 1983 (the same year as the North American Video Game Crash, but that’s for a future episode) and it was Nintendo’s first major step into the international home console market.

But we have to step back in time for a bit first.

When video games started popping up in the early 1970s (with Pong being the first commercially successful arcade game in 1972), Nintendo decided to join in on the craze by releasing their very first “video game” known as the Laser Clay Shooting System in 1973, which was described as a “light gun shooting simulation” much like in the way of a traditional shooting gallery but with electronics. Nintendo would famously insert the game in deserted bowling alleys after the bowling craze had died out some time before. Although the game was commercially successful, the famous 1973 oil crisis (the one where the Arab nations put an embargo on oil would caused prices to skyrocket for countries that helped out Israel during the Yom Kipper War) that same year forced Nintendo to reconsider the design and instead create a smaller, cheaper version of the game, renamed Mini Laser Clay. Arcades across the country took up the game, which helped the company survive for the rest of the decade after it had acquired 5 billion yen in debt from the oil crisis.

After seeing this success, Nintendo wanted to dive deeper into the growing video game market that was expanding at the time. So later in 1974, they released another hit Wild Gunman, which was a skeet shooter type of game similar to the Mini Laser Clay game. They both were exported to the United States and Europe, where the games went on to become massive successful.

Despite these winnings, they were still struggling behind the likes of Bandai and Tomy in terms of production and soon they would discontinue the light gun products. However, they didn’t give up and not wanting to miss an opportunity, bought the Japanese distribution rights to the Magnavox Odyssey in 1974 and signed a three-year deal with Mitsubishi Electric to create products for the company, which included but limited to the first modern microprocessor for video game programming. As part of this deal, the first of the Color TV Game home consoles were released to great success, which would be Nintendo’s first step in the home console market and Nintendo’s first major home console ever released. Even Shigeru Miyamoto (yes, that Shigeru Miyamoto) was brought on the team in 1977 to help with the planning of the console.

The late 1970s/ early 1980s was when things really began to kick off. Between the American subsidiary of Nintendo opening up in New York City in 1979 and the release of the ultra-successful Mr. Game and Watch franchise (the first handheld video game system) in 1980 allowed Nintendo to firmly take root in the video game industry and even create a separate division in the company for arcade game development, which resulted in the release of Donkey Kong in 1981 (one of the first video games that allowed the playable character to jump).

This is where the Famicom comes in.

Wanting to try their hand in creating cartridge-based consoles, conceptual plans for the eventual Famicom were made after witnessing the success of Coleco’s Colecovision, which at the time was one of the best selling home consoles on the American video game market. Originally the plan was to include a keyboard and floppy disk drive but then-President Hiroshi Yamauchi rejected the idea (It’s worth noting that the Famicom did eventually get a floppy disk drive peripheral where you could play games on the Famicom Disk System, more on that later). The name “Famicom” actually came from the wife of Famicom designer Masayuki Uemura after the development team proposed the name “GameCom” and his wife suggested “Famicom” by saying "In Japan, 'pasokon' is used to mean a personal computer, but it is neither a home or personal computer. Perhaps we could say it is a family computer."

Testing began in 1982 to test the functionality. For the famous colors of red and white, it was reported that Yamauchi was inspired by the color scheme of the Japanese antenna company DX Antenna. It was originally released on July 15, 1983 and originally sold for ¥14,800 ($54.50 in 1983 US Dollars, $180.25 in 2020 US Dollars) but it was slow to gain sales as a bad chip in the console would cause it to crash. After it was recalled and patched, sales skyrocketed for the console and became the best-selling console in the country by the end of 1984.

Here are some of the first commercials from the time period:

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Nintendo originally had plans to team up with Atari for marketing but after the latter company discover Coleco illegally demonstrating Donkey Kong on their Coleco Adam system at the 1983 Consumer Electronics Show, the plan fell through after Nintendo delayed their contract for game console marketing as well as Atari CEO Ray Kassar getting fired from the company the following month.

Then the infamous 1983 Video Game Crash happened and that era would shake the video game industry and change it forever.

Although the incident would be featured in-depth in a future Friday Special, what had happened as was that, put simply, too many low-quality, third party gaming consoles oversaturated the market as various companies had wanted to cash in on the booming video game craze. Many of the consoles that were created were met with mixed to low success.

As a result, Nintendo held off on releasing the console to the United States for fear of catching the stigma that video games were getting at the time because of the crash. So for the next year or so, Nintendo went into development for creating a different kind of Famicom system for the American market, one that didn’t explicitly play video games, but was going to be marketed as an “Entertainment System” with the cartridges called “Game Paks”. They changed the hardware design so that the “Game Pak” would be inserted in the front instead of the top like one was playing a cassette and it had “zero insertion force” for the cartridge slot. The color scheme was changed to gray with red lettering and the controllers were also removeable, something that wasn’t possible with the Famicom.

At the 1985 Consumer Electronics Show, Nintendo would unveil the product to the American masses.

That “product” was the original Nintendo Entertainment System (NES)

The NES would not only restore faith in the American video game market but it would also reframe it into the regulated industry it is today. One of the biggest changes from years before was that now there was a bigger push for having the soundboard and graphics to be on par with one another equally instead of one system receiving better treatment over another, which was common practice at the time to weed out competitors. Other changes included changing the cartridge art so that it actually represents the game being presented as a common problem was that the graphics on the cartridge sticker didn’t accurately portray in-game graphics, and also establishing a strict approval system for future games to ensure that no low-quality video games would taint the system and make Nintendo lose credibility, which was where the “Official Nintendo Seal of Approval” comes from.

The NES originally sold for $180 ($428 in 2020 US Dollars) and it not only revived the American video game industry, it became one of the best-selling consoles that year and eventually of the decade.

So while the NES was making waves in the United States, the Famicom continued to make sales soar over the next few years in Japan. The first major peripheral for the console came in the form of the Famicom Disk System, released on February 21, 1986.

Remember when Yamauchi said no floppy disks because he was concerned that the extra additions to the Famicom would scare off the non-tech-savvy people? Yeah, this was the Disk System mentioned earlier. It was made to enhance some of the best aspects of the original Famicom system such as sound and graphics, despite the high selling price and lower reliability. The release of the peripheral sparked a new era of gaming with the increasing accessibility of massive, writable storage led to the creation of legendary franchises such as Legend of Zelda and Metroid, both in 1986 respectively.

Although the Famicom Disk System was well received, it would eventually fall into obscurity by the early 1990s due to the rise of cartridge-based games. The last game released for the Disk System was in 1992 called Janken Disk Jō. The peripheral would be taken off the market in 1990 and support was discontinued in 2003.

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The other notable peripheral for the console was the Famicom 3D System, released on October 21, 1987. It was a pair of active-shutter glasses that would connect into the third-party port of the Famicom console (the third-party port made an appearance in the last issue, being referenced in the trial against Atari regarding the copyright of Tetris. You can read that article here). It was a commercial failure and quickly shelved, causing the peripheral to never be seen outside of Japan.

All good things must come to an end at some point, where on September 25, 2003, the console was finally discontinued for the Famicom console after almost 20 years of being in the industry. Support was discontinued in 2007 due to increasing difficulty finding parts for console repairs.

Thoughts from the Head

The Famicom will be celebrating its 40th anniversary in 2023 so that will be quite the celebration. If you’re new here, or don’t know me personally, I actually have an original Famicom in my possession! At this moment I have 12 cartridges total with Tetris being my latest as I just got it today as of this post. Some of the games featured range from classics like the first Super Mario Bros, to the most obscure game called Erika to Satoru no Yume Bōken (Guru Larry did a segment on the game in his Developer Rants: Japan Edition video a while back which is how I heard about the game).

It’s a wonderful console and a really cool piece of gaming history. Have some photos!

#my voice!#friday special #retro gaming #history #gaming #irl #I need to do a video at some point showcasing this console #it's magical

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brokehorrorfan · 6 years ago

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Scream Factory has revealed the specs for its Superstition Blu-ray release, which streets on April 16. Also known as The Witch, the film was among the Section 3 Video Nasties banned in the UK in the ‘80s.

Executive produced by Mario Kassar and Andrew Vajna (Terminator 2, First Blood, Total Recall), the Canadian supernatural horror movie was shot in 1982 but sat on a shelf until its release in 1985.

James W. Roberson (cinematographer of The Town That Dreaded Sundown) directs from a script by Galen Thompson (Sidekicks). James Houghton, Albert Salmi, Lynn Carlin, and Larry Pennell star.

Superstition has received a new 2K scan of the original interpositive. Special features are below.

Special features:

Interview with director James Roberson

Interview with actor James Houghton

Theatrical trailer

TV spot

Something horrible is happening at the old house on Mill Road. A series of ghastly accidents has occurred near the site where a witch drowned centuries earlier. But when an alcoholic minister and his family move into the cursed residence, an idealistic young priest (James Houghton) and a cynical police detective (Albert Salmi) start their own investigation into the unexplained violence. Has the daughter of Satan returned for a rampage of vengeance? Will the laws of the Church be strong enough to cast out this demon? And if evil has truly found a new home, is the entire neighborhood headed straight to hell?

#superstition #the witch #scream factory #james houghton #albert salmi #dvd #gift #80s horror #1980s horror #video nasty #terminator 2 #first blood #total recall #terminator 2: judgment day #rambo

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centrestagereviews · 7 years ago

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Casting has been announced for the UK’s first all-black production of Guys and Dolls

Casting has been announced for the UK’s first all-black production of the classical musical, Guys and Dolls, which is set to open at the Royal Exchange Theatre this December.

The production will star Ray Fearon as Nathan Detroit, Ashley Zhangazha as Sky Masterson, Abiona Omonua as Sarah Brown, Lucy Vandi as Miss Adelaide, Fela Lufadeju as Benny Southwest, Javar La’Trail Parker as Rusty Charlie, Trevor A Toussaint as Arvide Abernathy, Jamie Tait as Calvin, T’Shan Williams as Martha, Ewen Cummins as Lieutenant Brannigan, Kurt Kansley as Harry the Horse, Darren Charles as Society Max, Nathanael Campbell as Liverlips Louis, Toyan Thomas-Browne as Moe, Evonee Bentley-Holder as Mimi, Melanie Marshall as General Matilda B Cartwright, Joe Speare as Big Jule as Koko Basigara as Allison and Danielle Kassarate as Angie the Ox.

Guys and Dolls first opened in 1950 and is based on the story and characters of Damon Runyon and features music and lyrics by Frank Loesser. This new production will be directed by Michael Buffong and will run at the Royal Exchange Theatre from the 2nd of December till the 27th of January with a press night on the 6th of December. For more information or to book tickets head to the official Royal Exchange Theatre website.

Image courtesy of Google Images.

#Guys and Dolls #Royal Exchange Theatre #Centre Stage #UK #Centre Stage Reviews

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digicrunchpage · 7 years ago

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Amid furor over past sexism, Atari co-founder loses prestigious award

Enlarge / Atari co-founder Nolan Bushnell applauded the Game Developers Conference for rescinding his own award, apologizing "if my personal actions or the actions of anyone who ever worked with me offended or caused pain to anyone at our companies." (credit: Flickr / CampusPartyMexico)

On Tuesday, the Game Developers Conference announced its prestigious Pioneer Award for 2017 would be going to Nolan Bushnell, who co-founded Atari with partner Ted Dabney. By Wednesday, the conference had rescinded the award amid industry outcry over stories about Bushnell's sexist behavior during the industry's formative years—stories that often originated from Bushnell himself.

Those opposed to Bushnell's award organized quickly around the #notnolan hashtag on Twitter, highlighting public stories of Bushnell's questionable behavior around women during his time at Atari in the '70s. Those stories include Bushnell's tales of business meetings in hot tubs and of "Atari board meetings [that] seemed more like fraternity parties than business meetings" (as recalled in Steven Kent's book The Ultimate History of Video Games); Bushnell wearing an "I love to fuck" T-shirt around the office (as related in a 2011 interview with Atari executive Ray Kassar); and Bushnell code-naming projects after "stacked" female employees (as recounted in a 2012 Playboy profile).

"Some ladies feel comfortable around me, and some don't," Bushnell once told The San Francisco Chronicle. "I find the aura of power and money is very intimidating to an awful number of girls."

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techbotic · 7 years ago

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Amid furor over past sexism, Atari co-founder loses prestigious award

"Some ladies feel comfortable around me, and some don't," Bushnell once told The San Francisco Chronicle. "I find the aura of power and money is very intimidating to an awful number of girls."

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Amid furor over past sexism, Atari co-founder loses prestigious award published first on https://medium.com/@CPUCHamp

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mibuc2 · 6 years ago

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Recuerdo a un gran programador que estaba colocado. Aquellos tipos a lo mejor venían a trabajar a las dos de la mañana, se quedaban hasta la medianoche del día siguiente y luego desaparecían durante dos días. Así funcionaban los programadores, y yo tenía que aceptarlo. Sabía que no podía decirles: «Tenéis que entrar en la oficina a las ocho de la mañana e iros a tal hora». Sabía que era un grupo de gente con mucho talento.

Recuerdo una vez que uno de ellos llegó colocadísimo y quería ponerse a leerme poesía, así que me senté con él durante cuatro horas, ya que era uno de los mejores y quería que sintiera que lo comprendía y que me preocupaba por él.

Cuando terminamos dijo: «De verdad que aprecio mucho lo que has hecho por mí». Tenía que soportar cosas como esa continuamente.

Ray Kassar

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todaynewsstories · 6 years ago

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‘Rambo’ producer Vajna dies aged 74

FILE PHOTO: Actor Arnold Schwarzenegger (L), star of the futuristic action thriller “Terminator 3 Rise of the Machines” poses with the film’s producers Mario Kassar (C) and Andrew Vajna (R) at the film’s premiere in Los Angeles June 30, 2003. REUTERS/Fred Prouser/File Photo

BUDAPEST (Reuters) – Andrew G. Vajna, the Hungarian movie producer behind “Rambo”, “Evita” and other international hits, died in his Budapest home on Sunday following a long illness, the Hungarian National Film Fund said.

Vajna produced 59 films in all, including the 1996 Evita starring Madonna and Sylvester Stallone’s first three Rambo movies.

He was born in Budapest in 1944 and at the age of 12, when Hungary’s 1956 revolution against Soviet rule was crushed, he fled the country and emigrated to Canada with the help of the Red Cross. He was reunited with his family in Los Angeles.

His 1997 comedy, based on a play titled Out of Order by English playwright Ray Cooney, holds the record for ticket sales among Hungarian movies produced over the past two decades.

Since 2011, he had worked as a government commissioner under Prime Minister Viktor Orban, presiding over a revival of Hungarian cinema.

“We are bidding farewell to the greatest Hungarian film producer. Hasta la vista, Andy! Thank You for everything, my Friend!” Orban said on his Facebook page.

Movies during his term as commissioner won hundreds of international awards. They included “Son of Saul”, which won an Oscar for its portrayal of life in a Nazi concentration camp.

As part of Orban’s efforts to expand his influence over the domestic media, Vajna also acquired one of Hungary’s main commercial television channels and had stakes in the commercial radio market.

Reporting by Gergely Szakacs; editing by John Stonestreet

Our Standards:The Thomson Reuters Trust Principles.

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bitmapbooks · 1 year ago

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Atari 2600/7800: a visual compendium

Boasting commentary from Nolan Bushnell, Al Alcorn, David Crane, Ed Fries, Dan and Garry Kitchen, Rob Fulop, Ray Kassar and many more, Atari 2600/7800: a visual compendium is an in-depth look back to when Atari ruled the gaming world.

Full details: https://www.bitmapbooks.com/collections/all-books/products/atari-2600-7800-a-visual-compendium

#bitmapbooks #book #retrogaming #retrogames #gaming #atari #art

#bitmap books #art #book #gaming #retro gaming #retrogaming #atari #atari 2600 #atari 7800

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talabib · 6 years ago

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Leadership Journey: Silicon Valley

The mainstream media often spins the story of Silicon Valley as one of pure business and finance. And certainly, huge fortunes have been made. But the real tale of Silicon Valley is one of people and ideas, and how these people – sometimes nerdy, sometimes brash, but always talented – have pursued their dreams and turned their ideas into realities.

Silicon Valley is a region in the San Francisco Bay Area of Northern California. This area, a mixture of suburbs and modestly sized cities, is now the world’s leading center for high technology and innovation. Its history is short in terms of time but incredibly rich in terms of discoveries made. Since the late 1960s, Silicon Valley has been at the heart of the invention of personal computers, the internet, handheld devices, online retail, social networks and much, much more. And all of these innovations have been birthed in a profoundly unconventional business environment, one where business founders were often in their early 20s, working all night was common and drug use was practically obligatory.

In this post, you’ll hear the story of young people working, having fun, innovating and sometimes finding themselves in charge of multimillion- or even multibillion-dollar companies.

Atari was the first huge Silicon Valley boom and bust story.

The classic Silicon Valley story goes something like this: some kid with a radical idea puts together something cool, builds around it a freewheeling business with like-minded techies and becomes insanely rich in the process.

Atari, and its founder, Nolan Bushnell, pretty much wrote that script. As a student in the 1960s, Bushnell once snuck into a computer lab late at night to play Spacewar, one of the first computer games. Seeing the possibilities this completely new form of entertainment offered, the entrepreneurial Bushnell set up Atari.

Atari’s first completed game was Pong. It was a simple game – like table tennis, played on an arcade machine, with incredibly basic graphics and controls. But it became a phenomenal success.

Bushnell put the first Pong arcade machine in the corner of a local bar. Soon thereafter, Atari got a call from the bar owner to say the machine had stopped working. When an Atari engineer got to the bar, they realized that the problem was simple: the coin box was so full of quarters that it wouldn’t take any more. In this one bar, Pong was taking in $300 a week – a huge amount, considering Bushnell could manufacture more Pong machines for $350 each.

To deliver as many new machines as possible, early Atari employees worked incredibly hard. But, at the same time, there was a hedonistic side to the culture at Atari. Out back, the smell of marijuana smoke was always in the air. Coworkers slept with each other. There was cocaine use in the company hot tub.

This culture started to cause problems after the company was sold to Warner for $30 million in 1976, by which point Atari had progressed beyond just arcade machines and launched one of the first-ever video game consoles. The takeover brought a more corporate approach, as well as a new CEO, a serious businessman named Ray Kassar who’d previously headed Ralph Lauren. His ethos could hardly have differed more from Bushnell’s. Indeed, when the men met for the first time, Bushnell was wearing a T-shirt with the words “I like to fuck” written on it.

The culture clash between the new corporate owners and the freewheeling company atmosphere started to cause problems. Key engineers left, unsatisfied with the company culture, and Atari struggled to reinvent itself after its early success. By 1984, it had crashed completely. Split into smaller parts, the company was sold off.

In the early 1970s, Xerox established the foundations of modern personal computing.

Most people, if asked who built the first personal computer, might think of Apple or perhaps IBM. But, in fact, the business that first built something close to a modern-day PC was Xerox.

Today, Xerox is synonymous with photocopying. Indeed, you can use its name as a verb, and ask someone to xerox something for you. But back in the early 1970s, Xerox’s Palo Alto Research Center – or PARC, for short – made a major breakthrough in computing when it built the first computer with a modern, visual user interface.

Until then, computers had been focused solely on computing – on, quite simply, making mathematical computations. Xerox’s breakthrough was prompted by a handful of engineers who passionately believed that the focus of computers in the future would be the display. One of these engineers was Bob Taylor, who argued that computers needed to change. The eyeball, he said, is the connection between brain and computer. Therefore, the computer’s design needs to be focused on its display. Taylor also passionately believed that the future of computing would be communications, not computing or mathematics, and that computers in the future would be personal, with one on every desk.

The computer that was eventually built was called the Alto. It had a lot of features that we’d recognize today, like overlapping windows, icons, fonts and different menus. It had a bitmap display, which meant that it could show pictures on the screen, an innovation which would enable painting, animation and fonts for the first time. It even had a mouse you could use to navigate the screen, albeit one that worked poorly.

Further innovations soon followed. Researchers invented the Bravo, an improved machine that, unlike the Alto whose display was black and white, offered 256 different colors. No one had seen color before on a computer, and, unfortunately, the Xerox leadership was skeptical about whether there was a need for it in the marketplace. This wasn’t helped by researchers at PARC using the machine to create hippieish, wacky graphics late at night, which went against the grain of Xerox’s buttoned-up corporate culture.

Ultimately, Xerox didn’t push ahead, instead sticking to its specialty – printing. While it failed to exploit many of the computer innovations developed at PARC, though, Xerox’s influence did live on in another company, thanks to a visit from a young, slightly crazy businessman: Steve Jobs.

Steve Jobs and Steve Wozniak formed an unconventional partnership and created Apple Computers.

Around the same time that Atari and Xerox were getting started, two Valley geniuses – Steve Jobs and Steve Wozniak, the cofounders of Apple – were also hard at work.

Jobs and “the Woz,” as he came to be known, first worked together building and selling highly illegal “blue boxes” – devices that emitted a tone that, when played into a telephone, tricked the network exchange into letting the dialer place free calls.

Wozniak, an engineer, designed and built the blue box. But it was Jobs, the more business-minded of the two, who said, “Let’s sell this thing.” It was the start of a transformative partnership, but it wasn’t yet clear that they would build a business together.

Jobs landed a job at Atari, where he worked as a technician but soon quit to travel to India in search of a spiritual guru and enlightenment. Months later, he returned to the Atari offices with a shaved head and wearing a saffron robe and asked for his job back. Bushnell gave it to him, but Jobs was put on the night shift, for two reasons. Firstly, Jobs’s difficult personality was causing problems during the day. Secondly, Bushnell knew that if Jobs worked at night, when it was quiet, he’d probably bring his talented friend Wozniak in with him. He would get “two Steves at the price of one,” as Bushnell said.

And so it proved to be true. Jobs would let Wozniak in at night, to come play games and tinker with things. Not long after, Bushnell tasked Jobs with building a new game, Breakout, knowing full well that Wozniak, the far more talented engineer, would end up doing the work. In the end, Wozniak designed a game that was exquisitely constructed. The Atari engineers had never seen anything like it.

This foreshadowed things to come. Not long after, Wozniak built a personal computer named Apple I, inspired by the innovations happening at Xerox and using spare Atari parts. Seeing a financial opportunity, Jobs suggested they form a company. And thus Apple Computers was born.

Apple’s big breakthrough was inspired by Xerox and assisted by incredible marketing.

By 1979, Apple was an established business. Nonetheless, what Xerox was doing at its PARC research facility was still far superior to everything at Apple. But Xerox’s head office showed little interest in personal computers. This meant that, commercially, Xerox PCs were going nowhere fast. Steve Jobs exploited this brilliantly.

Jobs asked for a demonstration tour at PARC, in return for letting Xerox make an early investment in Apple. Xerox agreed, and, in December 1979, Jobs visited PARC. He was astonished by the capabilities of the Alto and its graphical user interface. In particular, he was fascinated by the Alto’s mouse, which, for the first time, allowed a personal computer user to point, click, cut, paste, doodle, paint and more. With the click of a mouse, something clicked in Jobs’s brain. In this moment, he would later report, it felt so obvious that every computer would work this way in the future.

This visit to Xerox changed everything for Apple. Apple’s future computers would also have a graphical user interface. They introduced now-common terms like “desktop,” “icon” and “mouse” to the general public for the first time.

It was the Macintosh computer, released in 1984, that really delivered Jobs’s vision of a consumer-friendly, easy-to-use computer that could be fun as well as productive. Jobs was convinced that the Macintosh was the greatest consumer product in history and demanded marketing that was correspondingly good.

An ad agency recruited Blade Runner director Ridley Scott to direct a commercial based on George Orwell’s dystopian novel 1984. In the ad, a brave young woman revolts against Big Brother, smashing the screen from which he broadcasts to an audience of zombified masses. It was a thinly veiled allegory for the thoughtful, upstart Apple taking on what they regarded as a soulless enterprise – IBM, the dominant computer corporation at the time.

The ad was a huge hit, and, the following day, news networks reported it as news, showing it in full.

Days later, Jobs unveiled the Macintosh – literally. Pulling the computer out of a bag, he turned it on and walked away. To a silent auditorium, the computer said, “Hello, I’m Macintosh. It sure is great to get out of that bag.”

A computer that spoke for itself? No one had ever seen, or heard, anything like it. The audience, and the market, was enrapt.

General Magic, a hotbed for talent, invented the iPhone ten years before the iPhone was invented.

General Magic might just be the greatest company you’ve never heard of. The stuff of Silicon Valley legend, General Magic was spun out of Apple in 1990, with many people from the team behind the original Macintosh computer on board. It had an incredible product idea, something far ahead of its time: a handheld gadget, called a personal communicator. The gadget, plugged into a television line, would be able to handle email and phone calls, as well as send SMS-style instant messages with emojis and stickers. It would have an app store with downloadable games, music and programs for checking stock prices and similar activities. A camera attachment would be available.

Sound familiar? General Magic had hit on the idea of a kind of smartphone, a full decade before Apple even started working on one.

Like so many Silicon Valley projects, the working environment was a little crazy. The company took space in a building that had been empty for ten years and had a pack of feral dogs in the basement. Someone’s pet rabbit lived in the office and, having never been toilet trained, left a mess everywhere. One of the principle engineers, Zarko Draganic, famously lived in the office for months on end. Colleagues would suggest a meeting at three o’clock, and he’d say, “a.m. or p.m.?”

The General Magic device was in many ways revolutionary. It had a visual user interface based on the real world, with an image of a desk, on which you could click and then write, and images of filing cabinets that you could click on to store and access files. The icon of a game room’s door led the user to a choice of networked, online games.

But the device was also flawed. You had to physically plug it into a phone line to get it to work. It was larger than planned and had poor battery life. It was, ultimately, ahead of its time. The idea came before there was sufficient computing power to deliver on it. The device failed, and General Magic went under, too.

But the company left a legacy of talent for the rest of Silicon Valley. Key engineers went on to play critical roles in the development of the iPhone, as well as of Android. And a guy called Pierre Omidyar ran a little site called Auction Web out of his cubicle that would forever change the world of retail.

Ebay started as a backroom side project, became a global success and gave us the feedback system.

In 1995, Pierre Omidyar was a longhaired young idealist who believed in the inherent goodness of people and the power of markets to improve lives.

When a colleague idly suggested that an internet auction site would be cool, Omidyar spent a Labor Day weekend hammering out the code for a primitive online marketplace.

The marketplace, called Ebay, relied on a simple honor system to start with – buyers and vendors had no guarantee that they’d get the goods or the cash that they’d been promised. But it turned out that Omidyar’s belief in people’s fundamental honesty was largely correct, and the system worked.

Ebay took off – fast. To start with, Omidyar charged a 25-cent listing fee, to be sent to him in the mail. After six or seven weeks, he was receiving a 25-cent payment every day. Six months later, he was receiving literally tons of payments in the mail every day, and soon thereafter he was earning more from Ebay than from his day job. Ebay has made a profit every single quarter since it started – something very few companies can say.

As well as rapidly becoming the place to buy and sell everything from best-selling books to obscure collectors items, Ebay also gave the world an innovation that is hugely influential today: the feedback system.

Back in the 1990s, the internet was a largely anonymous space, and Omidyar realized he needed a way to allow sellers and buyers to create a reputation, so that people who didn’t “know” them could still trust them and trade with them. He created the feedback forum, allowing people to rate each other and provide feedback on how their transactions went. It seems simple and commonplace today, but at the time, it was completely new and crucial to Ebay’s growth.

Ebay went public in 1998, just three years after it was first launched as an experiment. The share price rocketed on the first day of trading. The venture capitalists who had made early investments in Omidyar’s auction site made a thousand-to-one return on their money. The next company that would rise so fast was Google.

The founders of Google didn’t really want to launch it as a business.

Larry Page and Sergey Brin didn’t originally want to build a search engine. Both graduate students at Stanford, they were working toward doctorates in computer science.

And they both loved coming up with imaginative new ideas and concepts. Larry was interested in automating vehicles, and both liked to talk about building a space tether – a rock orbiting earth with a cable coming down that you could use to simply climb up into space.

The pair eventually worked together on a doctoral project to map the internet. They literally downloaded the internet’s contents and analyzed connections between web pages. While doing this, the idea of building a search engine wasn’t on their radar, partly because, with engines like Yahoo! and Alta Vista already in existence, a search engine didn’t really feel like legitimate academic research.

But one day, Larry realized that you could identify how important or useful a website is by looking at how many other websites link to it, and which ones. In about eight weeks, Page and Brin used this insight to build a search engine that was more powerful than any other in use.

Originally, the pair’s plan was to license their technology, because they wanted to get on with their PhDs rather than waste lots of time creating a business.

An early meeting with one search provider, Excite, showed how much better they could do than the existing competition. They showed Excite’s CEO, George Bell, their technology. They went to his search engine, typed in “internet,” and it generated largely random results, mostly in Chinese. Then they typed “internet” into Google. Sensible, useful pages showed up, like the page for Mosaic, the leading web browser at the time. Extraordinarily, Bell told them that he didn’t want their technology. He didn’t want it to be easy for people to find stuff, he said. He wanted people to stay on his site.

A short while later, having failed to license their technology to anyone, and realizing that their search engine was more powerful than anything else, Page and Brin founded Google as a company. A short but extraordinary journey to global dominance had begun.

Decisions to open up Apple’s closed-system approach enabled the business’s explosive growth.

Back in the late 1990s, Apple was struggling. The Macintosh may have wowed audiences at it’s launch, but, by 1997, Apple’s personal computers held a risible two-percent share of the market.

That year, Steve Jobs returned to Apple after a period running a different tech business, and he started to change things. He drove the launch of the original iMac, with its translucent, colored shell, the first really beautiful desktop computer. And he got behind the creation and launch of the iPod.

But while it was hugely fashionable, the iPod wasn’t a very successful product. Apple’s goal had been to use the iPod to sell more Macs, because you would need a Mac to use the music player, and this closed-system approach created a major barrier to customer uptake.

Eventually, the Apple executive team convinced Jobs to open up iTunes to Windows so anyone could use the iPod. Soon, Apple was earning literally billions a week from iPods and had a 90-percent market share of the music player business.

The next step for Jobs and Apple was the iPhone, developed at breakneck speed due to Jobs’s intense fear that Sony or Motorola would combine a phone with a music player and kill the iPod dead. The first iPhones were terrible – as phones. The engineering team would say, “This is the worst phone I’ve ever used – it barely dials!” But Jobs recognized that the phone capabilities were relatively unimportant. What they were really building was a laptop killer.

The first iPhone was launched at a glitzy event, with Jobs demonstrating it live while his tech team looked on, terrified that the quickly finished software would crash at any moment. It was a success, but the first iPhone had no third-party apps; Jobs wanted a closed system, concerned that if any developer could put something on the phone, it might crash it. But when Google launched Android, with the ability to download third party apps, Jobs panicked, and accepted the need to open up the ecosystem.

Apple’s cofounder, Steve Wozniak, has credited the third-party app store as being more groundbreaking than the iPhone itself. It enabled openness, innovation and connectivity. Today, it’s hard to imagine using an iPhone and not being able to load up the Facebook app. But, of course, it’s not so long ago that Facebook didn’t even exist.

Facebook moved fast, broke things and it now dominates.

Fifteen years ago, it was practically impossible to think of a person by name – some guy you’d met in class, for example – and then find a picture of him. At Harvard, individual dorms had paper directories called face-books, with pictures of all their students, but there was no overall listing. Mark Zuckerberg and Dustin Moskovitz decided to create a unified, online version, called The Facebook. A future colossus was born.

After rolling out their site as a dorm-room project, Zuckerberg and Moskovitz moved to Silicon Valley with the intention of turning it into a proper business. At the time, Facebook’s mantra was “Move fast and break things,” and in the early days they lived up to it. If new code was ready, it simply got pushed out live, usually in the middle of the night to reduce the impact if it all went wrong. Facebook’s engineers got used to staying up till 6 a.m. to fix things.

Even major new changes were introduced quickly. The 2006 introduction of the News Feed feature was revolutionary. Before, Facebook was largely static – you only found things if you went looking for them. Now, News Feed information, as well as news and photos, was pushed straight to you. This major change was rolled out quickly, with a jaunty message that read “Facebook gets a facelift.” People were instantly angry, feeling that their privacy had been violated. Students got petitions together, and even protested, chanting, “Bring back the old Facebook.”

But the thing was, at Facebook HQ, they were seeing a funny pattern. When they looked at people’s behavior – even the behavior of people telling Facebook they hated the change – they discovered that everyone was using News Feed. Constantly. People were protesting, while also using Facebook twice as much as before.

That Facebook arguably knows more about what its users want than users do themselves is just one facet of the platform’s power. Facebook’s position today as the world’s largest online platform gives it huge power and influence. Some question whether enough consideration has been given to how the values and decisions of Zuckerberg and a small cohort of his young male friends have influenced the direction of the internet, and how we interact with each other. That, however, is a question Silicon Valley will have to address in the future.

Silicon Valley is a strange place: a mixture of small cities and suburbia that has had a vast influence on our world today. The intensity of talent in such a small area, combined with access to investment funds, as well as an unusually high tolerance of failure and unusual personalities, has seen this tiny part of the world birth a disproportionate number of the technologies on which billions of us rely every day.

#Silicon Valley

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mandesaida7 · 7 years ago

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infodzhd1 · 7 years ago

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brokehorrorfan · 6 years ago

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Superstition (also known as The Witch) will be released on Blu-ray on April 16 via Scream Factory. Extras will be announced on a later date, but the company has confirmed that it will feature a reversible cover with alternative art.

Executive produced by Mario Kassar and Andrew Vajna (Terminator 2, First Blood, Total Recall), Superstition was shot in 1982 but sat on a shelf until its release in 1985. It was among the Section 3 Video Nasties banned in the UK in the ‘80s for its gore.

The Canadian supernatural horror film is directed by James W. Roberson (cinematographer of The Town That Dreaded Sundown) and written by Galen Thompson (Sidekicks). James Houghton, Albert Salmi, Lynn Carlin, and Larry Pennell star.

#superstition #the witch #scream factory #video nasty #james houghton #albert salmi #larry pennell #dvd #gift #terminator 2 #first blood #rambo #terminator #total recall #80s horror #1980s horror

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buytabletsonline · 7 years ago

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Enlarge / Atari co-founder Nolan Bushnell applauded the Game Developers Conference for rescinding his own award, apologizing “if my personal actions or the actions of anyone who ever worked with me offended or caused pain to anyone at our companies.”

On Tuesday, the Game Developers Conference announced its prestigious Pioneer Award for 2017 would be going to Nolan Bushnell, who co-founded Atari with partner Ted Dabney. By Wednesday, the conference had rescinded the award amid industry outcry over stories about Bushnell’s sexist behavior during the industry’s formative years—stories that often originated from Bushnell himself.

Those opposed to Bushnell’s award organized quickly around the #notnolan hashtag on Twitter, highlighting public stories of Bushnell’s questionable behavior around women during his time at Atari in the ’70s. Those stories include Bushnell’s tales of business meetings in hot tubs and that “Atari board meetings seemed more like fraternity parties than business meetings” (as recalled in Steven Kent’s book The Ultimate History of Video Games); Bushnell wearing an “I love to fuck” T-shirt around the office (as related in a 2011 interview with Atari executive Ray Kassar); and Bushnell code-naming projects after “stacked” female employees (as recounted in a 2012 Playboy profile).

“Some ladies feel comfortable around me, and some don’t,” Bushnell once told The San Francisco Chronicle. “I find the aura of power and money is very intimidating to an awful number of girls.”

A GDC representative told Glixel late Tuesday that the nominating committee was unaware of these kinds of stories and was looking “more closely” at the decision in the wake of their amplification. By Wednesday, the conference had issued a statement on Twitter rescinding the award:

“The Game Developers Choice Awards Advisory Committee, which votes on the Special Awards winners for each show, has made the decision not to give out a Pioneer Award for this year’s event following additional feedback from the community. They believe their picks should reflect the values of today’s game industry and will dedicate this year’s award to honor the pioneering and unheard voices of the past.”

In his own Twitter statement, Bushnell seemed to take full responsibility for his actions and actually complimented the GDC for its response. “I applaud the GDC for ensuring that their institution reflects what is right, specifically with regards to how people should be treated in the workplace. And if that means an award is the price I have to pay personally so the whole industry may be more aware and sensitive to these issues, I applaud that, too.

“If my personal actions or the actions of anyone who ever worked with me offended or caused pain to anyone at our companies, then I apologize without reservation,” Bushnell’s statement concludes.

A sign of the times

The uproar surrounding Bushnell’s award comes in the wake of the public fall of Harvey Weinstein and the resulting MeToo movement that has brought to light widespread allegations of sexual abuse and harassment in the worlds of entertainment, politics, technology, and more. That environment formed the scaffolding for much of the industry’s response to Bushnell’s award announcement, as captured in a tweet from Worcester Polytechnic Institute professor Gillian Smith: “While other industries are distancing themselves from the abusive and sexist behaviors of powerful men, GDC is giving a pioneer award to one of them.”

“In short, the choice makes sense from a purely historical perspective and Nolan is unquestionably a pioneer in video games,” former International Game Developers Association (IGDA) leader Kate Edwards told VentureBeat. “But to make that selection right now—in the midst of #MeToo, Time’s Up, and a general awareness explosion around workplace harassment—was incredibly tone-deaf. Despite having to make a reverse decision, GDC has now made the right decision.”

Many observers also noted that the GDC Pioneer Award, and the similar Lifetime Achievement Award, have never gone to a woman since their creation in 2000 (three women have won the organization’s Ambassador award, for those that help the industry “advance to a better place”). Marist professor Karen Schrier shared a list of dozens of women she believes are deserving of the award in Bushnell’s place.

On the other side, some Bushnell defenders have cited the age of the stories surrounding Bushnell’s behavior merely as a reflection of a more free-wheeling tech and corporate culture in the ’70s. Others argue that the stories of Bushnell’s uncomfortable statements and an unwelcoming workplace don’t rise to the level of physical assault and malicious career blackballing that have characterized allegations against others.

That’s not an argument that held much sway with many in the industry. “We can’t excuse behavior that repeatedly objectifies women, creates a hostile work environment, or discriminates against people by saying that it was typical of an era,” IGDA Interim Director Jen McLean told VentureBeat. “We know better now, and we must do better, as individuals, as companies and organizations, and as an industry.”

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