• At the Drive in

    2004-10-30

    Album: Relationship Of Command

    Release Date: 12th, Sep, 2000

    Label: Virgin

    老专集了,自己还是很喜欢。

  • A Girl Called Eddy

    2004-10-30

    album: A Girl Called Eddy

    Release Date: 10th, Aug, 2004

    Label: Anti

    Review by Thom Jurek

    Three years after the sensational Tears All Over Town EP, Erin Moran (aka A Girl Called Eddy) issued her debut long-player in the United States via the maverick Epitaph subsidiary Anti. Produced with aplomb by Pulp's Richard Hawley and Colin Elliot, this self-titled outing is an exercise in melancholy, depth, intimacy, and pure pop sophistication. Moran's songwriting approach is unabashedly romantic; it's torchy yet sweet, and her love of songwriters from Scott Walker to Burt Bacharach to Brian Wilson to Jim Webb is everywhere evident. In addition, her voice is a dead cross between Chrissie Hynde's and Karen Carpenter's. Hawley and Elliot have a symbiotic empathy for Moran's method. While she holds down the piano chores, this pair play all manner of guitars, basses, and electric keyboards with Shez Sheridan and Andy Cook, and selectively employ string and horn sections where appropriate. She reprises two cuts from the previous offering in the devastating ballad "Heartache" (which quotes the piano intro to the Carpenters' "Close to You") and the aching "Girls Can Really Tear You Up Inside." The album opens with the blue-eyed soul-pop of "Tears All Over Town," with its ringing Rickenbacker guitars, swirling strings, and rich piano textures. It is followed by the genuinely sad, loss-drenched "Kathleen," written for Moran's late mother, with acoustic and electric guitars starkly winding around a skeletal string section; above it all Moran's voice haltingly expresses its grief. There is a big production number as well in "People Used to Dream About the Future," with its crashing waves of keyboards and strings and a bridge to die for. There's the jaunty cabaret pop of "Life Thru the Same Lens," the hushed, emotionally loaded "Did You See the Moon Tonight," and the heartbreak rock & roll of the album's closer, "Golden." In all, A Girl Called Eddy is a multi-textured, multi-dimensional journey into grand pop literacy; Moran's songs are examples of exquisite taste that is never cheeky or dishonest. On her album the heart speaks with grace, elegance, and force.

  • Album: S/T

    Release Date: 26th, Oct, 2004 (France)

    Label: Viciouscircle

    不用多介绍了,最新LP,两人配合得天衣无缝。

  • Poter Strategies

    2004-10-30

    Porter generic strategies

    From Wikipedia, the free encyclopedia.

    Michael Porter has described a category scheme consisting of three general types of strategies that are commonly used by businesses. These three generic strategies are defined along two dimensions: strategic scope and strategic strength. Strategic scope is a demand-side dimension (Porter was originally an economist before he specialized in strategy) and looks at the size and composition of the market you intend to target. Strategic strength is a supply-side dimension and looks at the strength or core competency of the firm. In particular he identified two competencies that he felt were most important: product differentiation and product cost (efficiency).

    He originally ranked each of the three dimensions (level of differentiation, relative product cost, and scope of target market) as either low, medium, or high, and juxtaposed them in a three dimensional matrix. That is, the category scheme was displayed as a 3 by 3 by 3 cube. But most of the 27 combinations were not viable.

    image:PorterGenericStrategies.png


    Porter's Generic Strategies

    In his 1980 classic Competitive Strategy: Techniques for Analysing Industries and Competitors, Porter simplifies the scheme by reducing it down to the three best strategies. They are cost leadership, differentiation, and market segmentation (or focus). Market segmentation is narrow in scope while both cost leadership and differentiation are relatively broad in market scope.

    Empirical research on the profit impact of market share indicated that firms with a high market share were often quite profitable, but so were many firms with low market share. The least profitable firms were those with moderate market share. This was sometimes referred to as the hole in the middle problem. Porter’s explanation of this is that firms with high market share were successful because they pursued a cost leadership strategy and firms with low market share were successful because they used market segmentation to focus on a small but profitable market niche. Firms in the middle were less profitable because they did not have a viable generic strategy.

    Combining multiple strategies is successful in only one case. Combining a market segmentation strategy with a product differentiation strategy is an effective way of matching your firm’s product strategy (supply side) to the characteristics of your target market segments (demand side). But combinations like cost leadership with product differentiation are hard (but not impossible) to implement due to the potential for conflict between cost minimization and the additional cost of value-added differentiation.

    Since that time, some commentators have made a distinction between cost leadership, that is, low cost strategies, and best cost strategies. They claim that a low cost strategy is seldom able to provide a sustainable competitive advantage. In most cases firms end up in price wars. Instead, they claim a best cost strategy is preferred. This involves providing the best value for a relatively low price.

  • 《太极旗飘扬》:伪现实主义的拙劣抄袭
      
      
      作者:落单的孤雁 来源:周黎明留言版
      
      韩国电影近年来的长足进步着实令人惊愕。自从其电影新政策推行之日起,优秀的影片便层出不穷。无论现实主义的文艺片还是围罗票房的商业片,每一部都让人感受到电影制作者的诚意和精明的商业头脑。通过电影媒介,韩国的文化大面积地在亚洲乃至世界范围逐渐铺展开。虽然如今日潮已然日渐式微,远不如韩流这般激进澎湃,但很显然韩国人依然不知足,他们希望能够染指更多的领域,挑战更多的禁区。于是就有了《太极旗飘扬》这样一部很明显的模仿秀电影。
      
      平心而论,太极旗飘扬是让人刮目相看的。影片从音乐到镜头,道具到场面无一部体现了导演的严谨制作态度!你绝对不会看到南韩士兵手里拿着ak或者pps,也决不会看到他们挂着木柄手榴弹满阵地跑。火炮进攻也从火光冲天的汽油弹转变了过来,变成猛烈的震颤和飞溅的泥土弹片。但正因为这样,它倒被扣上一顶不痛不痒的“模仿秀”帽子。因为实在太像了——刚好南韩在朝鲜战争中的武器都还是美军二战的制式,伽兰德步枪弹夹跳退的清脆声响令人记忆犹新:但凡看过《拯救大兵》和《兄弟连》的人——没看过的毕竟是少数——都会情不自禁地笑起来:这不是韩国版大兵么?
      
      那么问题就来了。这部电影如此惟妙惟肖的克隆了好莱坞的经典战争,那它究竟到了什么样的高度呢?其形式是否能再次震撼我们的视觉,内涵能否再次穿透我们的心灵呢?不见得。
      
      影片给我第一个不好的印象就是暴力的滥用。导演对于暴力镜头如此执著的追求,不知道是出于初尝禁果的欣悉若狂,还是久旱逢甘露的豪饮无度,总之他是把战争片彻底当作了推销残暴的绝好载体。暴力镜头无节制地重复,每个特写都极尽清晰可辨。比如长满蛆虫的肚腹,爆碎的脑壳,焦炭般的尸骨以及血浆飞溅的肢体。比较好笑的是结尾有个镜头,机枪手手腕部中弹,他轻轻一拉就把手腕和前臂扯断了。这没来由地让我想起《群尸玩过界》,效果竟惊人的相似。
      【转自铁血 http://www.tiexue.net】
      其实,合理控制暴力画面出现频率,镜头持续时间和角度等能够很好地起到震撼人心的作用,可一旦超过了这个度,就适得其反了。不但没能提升影片的可观赏性,反而降低了影片的整体档次。回忆《拯救大兵》中的战斗场面,头尾两场戏极尽暴力之能事,酣畅淋漓地将战地那种时时刻刻环绕着的不确定危机感表现出来,灌输给观众。但是不管怎样它在血肉之躯上所作的文章就谨慎很多,真正做到了兼顾真实和美感,绝不刻意夸大,也不遮遮掩掩。残肢断臂的描绘多用远景,选的角度很细心,持续时间也比较短暂,始终把持住了观众承受力的临界点,既能让人受到强烈的视觉冲击,又给人留下喘息和思考的缓冲余地。而《太》那种几近视觉全裸式的野蛮暴力,除了让人觉得隐隐作呕之外,更有一种哗众取宠的感觉。
      
      在作战场面上导演也不懂得惜墨如金。枪林弹雨的奢侈浪费最终引发了同《十面埋伏》中的飞刀一样的视觉疲劳效应。导演为了缓解千篇一律所带来的负面效应,让战争在武器的变化中不断升级。到电影中后期,坦克和飞机也都积极加入战团,可是这依然无法挽救影片在视效上的逐步疲软。《兄弟连》十集从头到尾都是打仗,而且步兵战斗还是占大多数,没有太多华丽的重装备。但为什么我们每一集都看得津津有味呢?因为导演懂得在战斗的小细节上添砖加瓦,大同中挖掘小异。这点在《拯救大兵》中表现得尤为出色。子弹落点就有好几个不同的镜头表现,水中,土地上,铁条上,甚至把枪支打飞起来。巴祖卡击中德军坦克的正面和背面就有截然不同的效果。有这样的细节刻画,才能使战斗充满真实的质感,令人百看不厌。而在《太》中,我所看到的不是飞溅的泥土就是喷射的鲜血;士兵的扭打依然像在“过招”,而且从头到尾就那么推推搡搡一两招;对于重武器的战斗描写也缺乏足够的写实感,比如坦克的炮弹还是“汽油弹”,战机的cg痕迹依然过于明显。战机进攻的镜头很明显是从《珍珠港》里面借来的,说套用也许贴切一些。可惜《太》的视效离《珍珠港》里45分钟的视觉轰炸还有很远的差距。
      
      作战镜头运用除了缺乏变化之外,比较明显的还有缺乏主次感。导演想刻画很多场面,但笔触太泛,什么都想表现,结果什么也没表现好。也许受到近年来一些好莱坞商业大片的影响,影片想要制造从头到尾的不间断的高潮,因此将战火平均分配给每场大小战斗,让影片时时刻刻都充满着火药味。这样做的优点是容易吸引眼球,从始至终都扣住观众的注意力,但坏处也同样明显——只要稍微处理不当,就很容易陷入平均主义中。像《范海辛》就是这方面的典型失败案例,大小战斗林林总总,你也搞不清哪一场才具有决定性的意义,于是就期待着结尾的最终对决,可是到了最后才发现,好像结尾还不如中间某些段落好看。《太》也传承了这一点,并毫不吝惜地继续把它发扬光大。正是这种既想依从商业又欲傍附艺术,高不从低不就的组织安排,使得影片一直徘徊在尴尬的中音区,令人无法盛赞。
      
      无论暴力镜头还是特技效果,都只是表现形式,这些因素最终还是要服务于故事情节,才能让影片的灵魂焕发出奕奕的神采。那么这个用来讲故事的剧本就成了最重要的主心骨。可是我很遗憾的看到,韩国的编剧依然停留在三流小说的架构上。
      
      影片在国内有译作“生死兄弟”,听这个名字很容易就能切入主题了。兄长李镇泰和弟弟李镇锡携家带口逃难的途中被“紧急动员”编入军队开赴火线,然后就开始了一段轰轰烈烈大起大落的军旅生涯。从兄长在阵地上强烈要求和弟弟编入一个战斗小组的那一刻起,我就条件发射般地想到了《燃情岁月》。崔斯汀也是不顾一切地保护爱弟,希望让他平安回家。因为《燃情》实在太家喻户晓了,说《太》的剧本没有做任何参考恐怕令人难以置信。战争在《燃情》中只是一个附属品,而《太》却浓墨重彩地将之大规模扩建,可实际上编剧扩写详写的水准却是平平。然而我并不愿把《太》看作是《燃情》的局部放大版,因为《燃情》中的战争并不是推动故事发展的主体,只是标志崔斯汀前半生结束的一个小桥断,只不过是背景的大色块之一罢了,已完全文艺化了。而《太》刚好相反,将类似的这样一段文艺气质强烈的战争故事大肆渲染,重新涂抹装裱了一番。文艺作品中强化了的人物形象被导演剪切了下来,粘贴在《拯救大兵》式的写实主义背景之上,怎么看怎么叫人觉得别扭。而且兄弟二人的形象与时代背景接合得不紧密。因为这样的角色本身就带有相当广泛的“通用性”,也就是说把它们粘贴什么时期都可以,既没什么鲜亮的时代特点,也没什么太大不和谐。你大可以在无数的二三流小说中找到相似的庸俗套路。
      
      实际上,影片剧本骨子里不过就是韩国三流玄幻小说在伪现实主义掩护下的又一次偷渡。导演试图跟随这年头的战争片“时尚”,从小士兵小角度去写战争,可是他到底是还是记住了战争电影,忘了什么是的战争,也许他根本就不理解战争。在血肉横飞的战场上,李镇泰成了周围环境最突兀的对立面,他无数次单枪匹马力挽狂澜一二再再而三地向我们证明一点:导演根本就是个外行,他在拿严肃而残酷的战场当儿戏。也许这几个镜头还是他最津津乐道的手笔呢,可是我却越看越沮丧——原来导演依然还对无敌英雄恋恋不舍。对比《拯救大兵》,《太》明显不好看。因为导演完全忽视了战斗中的团队力量。好的战争片通常是一部群像电影,我们在《拯救大兵》中可以领略到指挥官的过人胆识,神枪手的犀利目光,老兵的驾轻就熟,新兵的胆小怯懦……这样一群人在一起才有戏味,才更真实。可是《太》却完全将众志成城置之度外了。
      
      更为可笑的是,李镇泰还真来劲儿了,竟然把战争中的偶尔可能撞上的好运气当作事业发展的踏脚石,也难怪,有导演在暗地里放水他能不放心么?自从小弟李镇锡被炮弹震到几乎窒息之后,兄弟俩的rp就开始暴发。从此二人就在战场上潇洒地来去自如,小弟的心脏病也不治而愈。爱莫生果然没说错,战争能锻炼人的体魄……而平安回家这一困扰士兵多年的老大难问题也被李镇泰解决了。他不但有能力靠纵横战场腾挪躲闪来步步高升,更能保证小弟不受四下横飞的子弹侵害,实在是一个战争奇才。我估计编剧在写这个人物的时候心里是不是还在想着网络游戏里某位有神功护体的大侠。我们假设(其实根本不用假设,影片已经这么表现了)兄弟二人在战场上的安全问题得到妥善解决,并且有机会保家卫国建功立业,那么为什么弟兄俩就不能,就不该发扬优势,合伙干一番事业,还一天到晚去国怀乡呢?导演在造就英雄的同时,也造就了剧本的逻辑硬伤。如果战场只是个艰苦而不致命的环境,那么游戏其中也未尝不是一件有作为的事。可士兵之所以会对战争产生恐惧,敬畏的情感,就是因为他们真实地感受到死亡的威胁,既无法逃避杀戮,又不能避免被杀。只有死亡的阴影时刻笼罩才会让人感到恐惧,而如果只有惊险重重包围,那只会让人感到刺激。小弟李镇锡显然是受不了刺激了,而且战场也不如家乡的大学令他有成就感,于是产生了要大哥金盆洗手退出江湖的武侠愿望;而大哥的事业正蒸蒸日上,又不好意思推辞弟弟,所以只好发出一声人在江湖身不由己的感慨。这分明是行走江湖阿,哪里是打仗?战场不是名利场,士兵冷酷无情的根本原因在于求生而不是追逐功名。李镇泰这个通用性极强的角色模板终于在功名利禄的追逐戏中原形毕露。这说明了一点:即便是一条谁都能穿的裤子,也要看谁穿起来更得体。导演很显然是穿错了。
      
      如果把《兄弟连》,《拯救大兵》比作凝实厚重的交响乐,那么《太》充其量不过是一曲庸俗的暴力摇滚。就像《英雄》在形式上临摹了《罗生门》可是精神却没抓住半分一样,《太》在照抄好莱坞战争电影的过程中,把它们所蕴含的实质抛在一边,。亚洲作为好莱坞的广泛受众之一,长年经受了商业大片的耳濡目染,按道理来讲,应该旁观者清,更能看清其中的优劣利弊,可是许多电影依然如同身在庐山中一般管中窥豹。高投入,低格调成了目前亚洲商业电影普遍存在的共性。虽然在形式上我们看到了进步,看到了不同于往日的风度,看到了弃旧扬新的开放精神,但要想有本质上的飞跃,恐怕还有很长的路要走。
  • AM/FM

    2004-10-30

    Album: The Sky Is The New Ground

    Release Date: Oct 15, 2002

    Label: Polyvinyl

    Style: Indie Rock

    与Braid一样,都来自Polyvinyl。风格柔化很多,阳光、清新,看着封套就能感觉同样的感觉。虽然只有短短的4曲,但却首首精彩,开场吉他的SOLO,配合一点电音,真是心旷神怡。来到随后的2人合音,少了一分唳气,却多了一分潇洒与自如。不能首首点评,但绝对不辜负这张7颗星的总体评价。

  • Braid

    2004-10-30

    Artist:Braid

    Album:Frame And Canvas

    Release Date: 1998

    Label: PRC

    Style: EMO

     

  • D'arcadia

    2004-10-30

    Artist: D'arcadia

    Album: Nostrum

    Release Date: 4 Jun, 1994

    Label: ConSequence Records

    Style: Folk-Wave, Medieval Ambient

    D'arcadia 就是我心中的一个经典,绝对可以和DCD一较高低的好团。

    1991年在慕尼黑成立,共发行3张专集。

  • 注解

    2004-10-29

    刚刚开始,就搬了几个最近写的文章进来,冲冲版面。

    以下所有专集都可以在INDIECHINA下到,地址在我的连接里有。

  • Man Man

    2004-10-29

    Artist: Man Man

    Album: The Man In a Blue Turban With a Face (ACE028)

    Release Date: 15th, Nov, 2004

    Label: ACE FU

     

    这是一张原始狂野的世界融合的大餐,与略显狂野的封套相得益彰。这张最近听得很多,也许是因为一直都对WORLD的喜爱,让我对它百听不厌,但这是一张肯定进入我今年TOP10的专集。

     

    整张专集对各种民族乐器的运用极为娴熟,配合粗旷原始不做任何的修饰的嗓音,仿佛就是在刮一阵强烈的世界风。开场的尖锐疯狂的男音,而后幼儿园合唱班的伴唱,再到后面专集另一首中近似癫狂的女声,真是大开耳界。专集中出现了很多平时听似很难接受的怪声音,但却被MAN MAN来了个大融合,真是让我爱不释手。给我最强烈感觉的还是伴音的处理,极度自如。不自细说,细细品位后自见分晓。