Amoeblog

>Examine text adventure - Ask will Generation Text revive the popularity of text-based adventures?

Posted by Eric Brightwell, September 6, 2009 02:37pm | Post a Comment
TRS-80

Like silent films, old time radio, male grooming and slide shows, the text-based game is a largely dead art form. Like the other examples, it's uniquely enjoyable and was snuffed out by its flashier, less imaginative offspring in the pursuit of realism and technology. (Don't get me wrong, I think GUIs are la mamá de Tarzán and I even crossed the security line at Xerox PARC on a nerd's tour of historic Silicon Valley to drink from the fountain where the Xerox Alto was born back in 1973.) But the quiet pleasures of text games are enjoyable in their own right and with a whole generation almost incapable of communicating through any means except texting, the text game seems ripe for a comeback.

Eamon screen shot  Zork

Instead of using graphics, text-based games use prose to tell the story. Players type specific commands to such as "go north" to play. A lot of the fun (and frustration) comes from having to type them precisely. For example, if you type "omg go north lol!!!," the computer will reply, "You used the word north in a way I don't understand." It may be frustrating at first to not punctuate every command with "lol," but once you get the hang of it, you'll find text games can be highly addictive. Besides, frustration puts hair on your chest.

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The roots of jazz - ragtime

Posted by Eric Brightwell, August 24, 2009 04:48pm | Post a Comment
Although for most people the strains of "The Entertainer" and other rags now primarily evoke quaint, scratchy images of silent films projected at the wrong speed, when ragtime first appeared around the 1870s, it was the soundtrack of Missouri's whorehouses, parlors and gambling clubs.

st. louis 1870
St. Louis in the 1870s

Ragtime was also one of the first truly and distinctly American musical forms. After cakewalk, ragtime was one of the first global music crazes. That Ragtime's cradle was the river towns of the Missouri Valley shouldn't be a surprise. Missouri, located at the center of the country, has long been and remains a crossroads of cultural exchanges. No state borders more than Missouri and noted ragtime musicians came from all the neighbors and spread to them (except Nebraska and Iowa, states whose people are known to be deaf to the joys of melody and dance). The character of ragtime -- drawing from folk, European and American marches, minstrelsy, spirituals and other forms -- connects Europe, Africa and North America, town and country, classical and popular, black and white.

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The roots of jazz -- cakewalk -- Amoeba's Jazz Week

Posted by Eric Brightwell, August 21, 2009 08:00am | Post a Comment
A performative, competitive dance known as the chalk line walk first appeared around the 1850s on the plantations along the Gulf Coast. Its origins lay in the African-derived dance known as the bamboula -- also the name of a drum -- and it was performed in New Orleans, where on Sundays slaves were allowed to congregate. In their limited freedom, they not only danced the bamboula, but also dances like the pile, chactas and the carabine in Congo Square and at their masters' homes. Louis Moreau Gottschalk, a local creole composer was inspired by the dances and wrote "Bamboula, dance des nègres, Op.2" in 1848. By the 1850s, the bamboula's popularity had spread to Florida, where it possibly mixed with the dance traditions of the Seminole. It eventually developed into the cakewalk, which quickly became popular throughout the Gulf Coast. 

congo square

Whereas the minstrelsy craze of the 1840s-1860s was the first major cross-racial American musical exchange, cakewalk's heyday from the 1850s-1890s was probably the second and importantly, a reversal. Minstrelsy was a product of white musicans seeking to simultaneuosly imitate and mock black customs, but cakewalks were initially produced by black performers imitating and mocking whites. Thus began a long history of back and forth musical and cultural dialogues that have been behind nearly every significant innovation in American music.

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Novelty rap and the harsh realities of adolescence -- Freddy Rap and other strange happenings of 1987

Posted by Eric Brightwell, August 10, 2009 10:44am | Post a Comment
Back in 1987 and '88, before Chucky and the Leprechaun came along and divided the loyalties of urban cineastes along racial lines, Freddy and the hip-hop community were hand in metal-clawed glove. It was the year Nightmare on Elm Street 3 was released. Why did Freddy rap occur then and not sooner? There had been a building sense of unease for several years, as evinced in Rockwell's 1984 hit "Somebody's Watching Me" and Dana Dane's 1985 hit "Nightmares." It was the climax of the Cold War, after all. Nightmare on Elm Street 3 was widely viewed as the best entry in the series and was the most successful until FVJ in 2003. It may've just been me, but I also think 1987 was just a weird, wonderful year.

nightmare on elm street

For me, it was full of confusion and mystery. I'd grown somewhat comfortable with my classmates over the seven years of elementary school, but in 1987, I was off to junior high. The air on the school bus was a gaseous psychotropic cocktail of aquanet and Jheri Curl. When the smoke cleared, I found myself at Jefferson Jr High, in the middle of town. The formerly all-white school, my black Social Studies teacher informed us, had been the domain of the devil and his wife (a witch) when he was growing up during segregation. I later figured out her reasons for creating that myth, but it might as well have been true to me at the time. Junior High, in contrast to the relative peace of elementary school, was a trial by fire where violence could and frequently did break out as the pecking order got sorted out. I quickly learned to never use the restrooms. There was tremendous pressure to adopt a sort of uniform with classmates scrutinizing and passing judgment on hair, jackets, shirts, pants, shoes, musical tastes, &c. Brands and styles of (generally tightrolled) jeans (something I'd honestly never thought about) were cyphers that revealed more about their wearer's personality and background than their cracking voices ever could.

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The Moon missions and the children of Major Tom -- the end of the space age and the music that followed

Posted by Eric Brightwell, July 20, 2009 03:58pm | Post a Comment
first moon landing

It's the 40th anniversary of the first manned moon landing, and looking back at that achievement it's obvious that one of the many repercussions was evinced in the music of the era. In addition to the space rock of bands like Pink Floyd and Hawkwind and sci-fi minded funk acts like Funkadelic, the glam rock scene, which exploded around the same time, is one of the most obvious manifestations. For a couple of years, glam rock was massively popular in several countries and it spawned hordes of mylar-and-make-up-wearing rockers singing about extraterrestrial love and lonely planet boys. On December 7, 1972, the Apollo 17 was the last manned mission to the moon and the space age, shortly after, seems to have drawn quietly to a close. Glam rock seemed to fizzle shortly afterward, but maybe it just went underground, seeking out new frontiers in a different set of clothes.



First, in 1973, David Bowie retired his extraterrestrial Ziggy Stardust and released Aladdin Sane. Although hardly a radical departure, it was famously hyped as "Ziggy goes to America" and represented Bowie's efforts to move in a new direction. Then, in early 1974, glam rock's creator Marc Bolan announced that "Glam rock is dead." His February release, Zinc Alloy and the Hidden Riders of Tomorrow - A Creamed Cage in August, was described by its creator as "cosmic soul." Bowie described his next direction as "plastic soul" shortly afterward. Glam's two most important stars seemed committed to moving on in spirit, if perhaps overstating the change in their music.

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