The silent death of the Pariscope

February 24, 2009

pariscopeDo you realize, that that little weekly compendium has been guiding us through Paris from our back pockets for 44 years now!  It is not only as if it seems that it was always there, but for most of us, it pretty much was. From lying on your parents coffee table, to half squashed in your backpack, the Pariscope has been around town as much as you have. But when was the last time you bought one, or worse still, actually read it?

The Pariscope lists everything that’s on around Paris, in one very long series of names, addresses and details spanning over 200 pages per edition. And it is not the only printed source, you could have seen the same list on the pages of their famous competitor the Officiel des Spectacles or to different degrees in the rest of the printed press (most notably in the Figaroscope). So is there still a point to buying a Pariscope?

Flipping through the pages anno 2009, the limitations just slap you in the face. There are descriptions of plays, but where is the commentary from the specialists and the ranting from the general public? How far is rue de Trévise actually from the Opèra, can I walk? Where is Google Maps and the GPS? Ah, Chekhov’s Uncle Vania is playing at the Bastille, but what was that other play of his called which we saw in spring? Francois Ozon’s new movie Ricky is playing all over town, but the neighbours says it is very disappointing, can I not see a preview?

It just seems that all your nightlife -and daytime- queries are no longer being answered by the Pariscope. The grouping together of the information is as timelessly important as ever, but it just is no longer good enough. The Pariscope needs to be an application on an iPhone, or a website in the least. And those are popping out of the ground all around us, websites offering more and more reviews, interaction and gimmicks. Similarly, the iPhone has been offering more and more nifty little tools to help you on your way to solving the dilemma of tonight’s programme.  So what is left for the old Pariscope?

Not much, I’m afraid, they have become the over-the-hill bachelor it has become uncomfortable to invite. If they do not find themselves a partner and launch themselves into the interactive world very quickly, it will all be over for them, out of pure futility of their magazine. Please, Pariscope, reinvent your format to save yourself so that a next generation can also proudly carry you around in their backpacks as we have done, even if for them it will be on their iPhone.


Grolsch in Paris

February 19, 2009

grolschGrolsch has been around a while. Arguably the best Dutch beer, if not the best in the world, it was originally founded in 1615 by Williem Neerfeldt. You would think that after almost 400 years, it would be a breeze to pick one up in Paris… well, think again. The world is unevenly divided. London and New York have both become blasé about it, with Grolsch virtually becoming a broker’s trademark, but in Paris the exclusivity is still on. Although… there is a charm in being special, isn’t there? The Dorsser offers you a little guide to where to find a Grolsch, without leaving the City of Light. Just keep reading and enjoy!

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Download the Grolsch in Paris guide here

If you’re not happy about the limited number of salespoints… you know where to complain… Grolsch does not have to be available at every bar in town, but a better score than the current one is not too much to ask!

www.grolsch.com


Advertising and the purpose of television

February 11, 2009
tvWatching your favourite television programme uninterrupted by perfume and soap advertisements is the dream of any viewer. In France, that dream has just become a reality for the 4 state-owned channels: all the advertising is banished to the private channels.

In the days of the all pervasive ostensible logos and defence of corporate interests, to what do the French viewers owe this honour of logo-free programmes? “If we keep commercials we are subjecting ourselves to the tyranny of audience ratings. And this always means the worst programming dumbed down to lowest levels,” Sarkozy argued last February. “(…) public television must be different. It must lift people up and excite their curiosity, conscience and intelligence.” President Sarkozy’s rhetoric sounds appealing enough, offering us better television, uninterrupted. Wow. At the risk of sounding cynical, is there a catch?

The End of French Television Advertising: Under President Sarkozy’s new media reforms, French prime time television has become free of all commercial breaks. Currently the programming in the evening from 8pm to 6am is uninterrupted, and by 2011 all 4 national channels will be completely advert-free.  The financial shortfall will be covered through taxation on private television channel advertising (1.5 to 3%) and internet and mobile phone operators (0.9% of revenue). ( Top: Humax television envisioned by Tej Chauhan. Below: President Sarkozy, courtesy AFP.)

The reform does indeed have its detractors. Some suggest that the move merely shifts more advertising revenue to TF1, France’s most popular private channel owned by Martin Bouygues, a friend of Sarkozy. Others see the reform as a way for the state to exert more power over the stations, compromising their independence. The former is a popular view, as testified by TF1’s share price shooting up. As for the loss of independence, that will only partly be the case. The state will have more control (as the reform includes the right to choose the director of France Televisions), but state television “should” not be steering against the interests of the country as it is. Independence, means that the channels can decide for themselves what that means, rather than having their mantra imposed on them by the state. Whether they will be more or less independent after reform is very hard to judge at this stage. What can be judged, is the friendship between Martin Bouygues (of the leading TF1) and the president,  which, in itself, is more worrying to television independence. TF1 is a private company and should certainly not be taking orders from the Elysée.

As the independence of the media is fundamentally important to the functioning of a democracy, it fuels the debate on whether or not to enact the media reform. In this case that it is certainly debatable. But there is something else which clouds our judgement: advertising. Does advertising actually influence programming? Yes, it does. A commercial TV channel is a profit seeking enterprise. It tries to attract as many viewers as possible to maximise its advertisement revenue. This tends to put game shows, American series and such on the air (as TF1 does). Such a channel is not necessarily all fluff around the adverts, as there is a point to making specialist shows as well (targeting a specific group of people) if there is a market for them. Teen music shows or gardening specials attract certain groups of people advertisers may want to target, as would some documentaries. It is worth noting that even with advertisements, the public channels held long philosophical debates which can only be followed by a small group of intellectuals.

sarkoThe president hopes the French public television will rival the British BBC. But why, really? It is perhaps not overly controversial to accept the superiority of the BBC over the French public channels, but what has it contributed to the UK? Or, what can it do for France? Does more quality television increase the general intellectual level of a country, the happiness or the political stability? Let us not forget that  these channels are state owned, so there must be some kind of common interest in keeping them afloat. But what? Is the president chasing an ideal of the active citizen, who, when more enlightened will not let himself be manipulated by his  elected leaders and can serve as the cornerstone of democracy? It sounds philosophically sound, so should this action be seen as an ideological reform. If this is so, does television actually contribute to the promotion of the enlightened citizen?

Television has some fundamental flaws for intellectual activity. Following any kind of argument on screen critically is near impossible, which is why “intellectual television” is an oxymoron. To be able to follow a programme, one has to let the images stream into one’s head. One has to accept each premise to be able to take in the next. Note that watching television is  a completely different experience to reading. The former is inherently passive while the latter is active. When you read a text, you can move backwards and forwards in the text as you see fit and as you consider the validity of what you are reading. The pieces have to be stuck together by the reader, encouraging the appropriation of the text, broadening his understanding. Television can never do this. But what can it do?

Television programmes can show you things you have never seen before, and otherwise might never see in real life. They can broaden your horizons. In an ideal world, you would be stimulated by something you see on television and then go outside to find out more. Television can open your mind to experiences of other people, making you more open-minded. Naturally, the programmes can also quite easily inspire fear, which can be abused for political gain. It is a tool which changes people (besides promoting obesity through inactivity). In the context of a country, television brings people together, convinces them to think alike, discussing similar issues in a similar manner. It is one of the greatest nation builders ever developed. Television promotes the use of a national language and promotes the national political outlook. Ideally, television supports the political leaders, but it has to be free to do so (or not) for democracy to work. Television is the backbone of national stability.

But surely advertising fits snugly in such a nation-friendly programme? A television station which supports national unity, promotes the national culture and (roughly) the political outlook, and at the same time encourages the population to consume more goods… how can that be a bad thing? Both in the sense that people are encouraged to discuss matters they are presented on television by the programmes, they may discuss (and buy) the goods shown. So, even if the programming is not spectacular and swamped under the perfume and soap breaks, the television will serve its purpose in the grand scheme of the nation.

There is also another, more subtle advantage to commercial television.   Advertisements help convince people they live in a free country, as it makes them feel like they have a say even at times when they might not (away from elections). Advertisements suggest choice (whether or not there is one), generating the illusion of being in control over both their lives and the society around them. It is perceived as the counterpart to democracy, or even as the price to pay for living in a free society. Inversely, programmes without advertising are now perceived as propaganda, people assume that it must have been paid for with some interest in mind.

To sum it all up: It would be the right time to ask what public television is for and if we need it. If it is really to promote intellectual advancement, as the President suggests, we could seriously doubt its effectiveness.  If it is to be in the interest of the country, we would probably be better served keeping those breaks in there. I think the president got the reform right, with a broader taxation base to reflect the future users of television (internet, mobile phones), but bluffs on the reasons. There are two reasons which would really hold up: some better programmes, presumably, which is great for the national prestige. And secondly, well, actually not having commercial breaks (!) – but do realise, that if you are invited to a talk-show now, you will actually be expected to finish your sentence…


Shall I buy a new Audi or 6 new Smarts?

February 10, 2009

object015-copyOf course there is not a person in the world who will be doubting between those two options. Recently embarrassed by an online competition, I realized that I knew nothing about car prices. But it did spark a curious thought wave for car buyers. Presumably because you never compare the prices of cars of different categories, you already have a benchmark car in mind, for instance a Smart, and will compare the other options to that one – one of which you will eventually buy.

But it is fun to think out of the category. Let us taken an example, starting high. It appears that you can buy a Ferrari (California) for 180 k€. Not too bad for a Ferrari you might think. Indeed, until you realize that you could also get both yourself and your spouse a Corvette (C6) for the same amount, and have enough left (50k€) to hire a butler for a year. But of course, that is not how people think. You want the Ferrari and you will stretch (or not) the finances for it.

But still, car purchasing is a curious game. Instead of that Ferrari, imagine you had your eyes set on a Bugatti (Veyron). You could get 9 Ferrari’s for the price of that one, or a whopping 25 Corvettes! Almost a Corvette for every day in month! Bear in mind that that does imply that finding that parking spot on your block is going to be a little more difficult…

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But say you are not in the market for a Bugatti or a Ferrari for that matter, and were rather looking at a Smart, a Fiat 500, or a little Peugeot cabrio to take you around town. These are all about the same price (18k€), as would have been a larger SUV, like the Nissan Qashqai. Of course you could still get 2 Logans at this rate and have enough left over for a simple scooter. They are all cars and our choice of vehicle will depend on some objective criteria (such as power, comfort or fuel consumption) and a whole lot of purely subjective ones (variations on “I like it”) which will determine your decision. Either way, it is a major expense.

Smart’s sales tactic, selling cars like milk cartons, encourages the practical and easy side of their vehicle. And they look like fun. But you are not the only one who thinks so. The Smart (Fortwo) is also the most stolen can in France today (2007, Auto Plus). Since theft is partly for resale (usually the more expensive cars) and mostly for parts, popular cars tend to be the ones which do well in the stolen car business as well. In the theft popularity contest, the Renault Twingo is next, followed by the Peugeot 306 and the Renault Cleo. They are all small and popular cars. Of course small cars are often left out on the street as well… so perhaps instead of that Smart for 18k€ you could consider that 12k€ Cleo and fork out for a garage with the remaining 6k€, if you can get a garage for that rate where you live… or perhaps you should just get the Smart… because it’s the one you had your eye on from the start. After all, arguments are just arguments.

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After Dark

February 5, 2009
afterdarkBook :: After Dark (アフターダーク ) by Haruki Murakami (Japan) :: Alfred A. Knopf (US), May 2007
In a contemporary Japanese urban setting, presumably Tokyo, Mari Asi, an introverted young 19 year old, misses her last train home on purpose, preferring to spend the night reading in the anonymity of the night. Mari suffers under the weight of a secret, one she can not deal with. Throughout the night, she is confronted with others who all bear a cross. Through the common loneliness of the night, she finds some solace, some strength to deal with the reality of day.

What is remarkable about After Dark, is the uncommon narrative – not only does the novel follow the night chronologically in “real-time” (roughly, depending on the speed of your reading), but the author addresses the reader personally, taking him or her by the hand into the scene, as if our eyes are fixed to a floating camera which can be moved around. He does not hesitate to remind us of our helplessness as a fly-on-the-wall investigating the scenes but powerless to help the characters. We are taken along a tour of details both relevant and not, finding clues as to the scenes we are witnessing. The narrative-form has both an intimate and distant effect, as we find ourselves in the story but somewhat removed from the characters. These scenes are alternated with metaphysical scenes, which conjure the fear and estrangement of the hidden mirror-world of Mari. These scenes are not the uncompromising success of the book, but they do bring us closer to the thoughts and worries of Mari.

On her nightly escapade, Mari bumps into a vague friend of her sisters, the skinny, trombone-playing Takahashi who, at his turn, has her help-out the big ex-pro-wrestling love-hotel manager Kaoru. The night-time exposes the roughness of life and the kindness of strangers as only a tired darkness can. The night is portrayed as that slow time in which reality mixes with illusion, where secrets are guarded as crown jewels or given at the whim of the moment. It is a time where normal rationality does not play. It is a world with but a vague similarity to the daytime, marked by the shadows of the insomniacs. It is a time and place where the remaining working souls labour to their hearts content, and the others are freed from the constraints of productivity to linger or play. It is a calm but cruel world frozen in prose in After Dark.


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