Tuesday, May 30, 2006

TELEVISION > GENE SIMMONS FAMILY JEWELS IN PRODUCTION; A NEW REAL LIFE SERIES FEATURING THE LEGENDARY ROCK STAR AND HIS UNCONVENTIONAL FAMILY LIFE


Pasadena, CA, January 12, 2005 – Production has begun on GENE SIMMONS FAMILY JEWELS. Dad is Gene Simmons – the legendary, tongue wagging demon of KISS. Mom is Shannon Tweed -- former Playmate Of The Year, actress and model. And their kids, Nick and Sophie, are, well...surprisingly charming, well-behaved teenagers dealing with the trials and tribulations of adolescence, even though Mom and Dad are like no one else’s parents.

Gene and Shannon have been happily UNmarried for 22 years and have no plans of getting married any time soon. Gene is a rock star, and a multi-media magnate. He is also the kind of dad who brings Gatorade to his daughter's soccer games and stands in the front row of his son's rock band when they play gigs. This series will reveal the side of Gene that he has kept hidden until now, and shows how the most non-traditional, traditional family in America manages to make it work under the oddest of circumstances.

Gene Simmons is co-founder of KISS, a band which has broken box office records worldwide set by Elvis and the Beatles and has 2,500 licensed and merchandised products, from KISS VISA cards to KISS condoms (www.GENESIMMONS.com). Gene also runs Simmons Records, Simmons Audio Visual and Gene Simmons Game magazine. He is Chairman of a forthcoming television network and is busier than ever in another of his new ventures: SIMMONS ABRAMSON MARKETING, which handles worldwide branding/marketing and branding for the Indy Racing League.

Monday, May 29, 2006

BLOGS > Packaging and Music


JOURNAL.DAVIDBYRNE.COM: There are those who mourn the vanishing of the nice big cardboard packages that vinyl came in. The format allowed fairly large images, credits, and photos. The usual assumption is that much of this imagery, like music videos, is a reflection of, and extension of, the music creator’s sensibility. As if the packaging and the videos were usually under the direct control of the author. This is absurd. Though pop artists attempted to wrestle control of the way they were presented from the distributors beginning in the 60s, most LPs design, and music videos as well, are directed and designed under the control of the record companies. Here are some obvious examples.

BLOGS > Unboxing


CORE77.COM: I'm loving this one... Unboxing is a blog dedicated to the opening of newly received gadgets. A good resource for packaging designers and a great place to send marketing (along with the obligitory Business Week/IDEO article about customer experience) when they won't pony up the extra 2 cents for your brilliant ideas.

HOTELS > Dubai to get Dh100b tourism and leisure complex


GULFNEWS.COM:
Dubai: A Dubai company will build the world's longest hotel strip as part of a Dh100 billion tourist and leisure resort in the city, its developers said yesterday.

Unveiled by His Highness Shaikh Mohammad Bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE and Ruler of Dubai, the project will be spread over 139 million square feet in Dubailand.

It will feature a cluster of 31 hotels offering more than 29,000 rooms and 100 theatres presenting live cultural shows.

Shaikh Mohammad examines a model of the Bawadi project, which will feature the world's largest hotel with 6,500 rooms.


Tatweer, a unit of Dubai Holding and builders of the project, said it will boast the world's largest concentration of leading hotels and help Dubai cope with the 15 million tourists it hopes to attract by 2010.

Called Bawadi, the project will nearly double the current number of hotel rooms in Dubai through several themed hotels and also develop entertainment centres, shopping malls, theatres, restaurants and convention centres.

"Tourism as an industry plays a major part in the economic development of this country and this project was instructed to be developed by Shaikh Mohammad about a year ago," Tatweer's chief executive Saeed Al Muntafiq told reporters after the inauguration.

The giant project, set up after extensive research of the dynamics of the tourism industry, will also boost tourism dependent industries.

The centrepiece of Bawadi will be the world's largest hotel, Asia-Asia, which alone will provide 6,500 rooms, combining 5,100 four star and an additional 1,400 five star rooms.

Asia-Asia will be a part of the first phase of development, which includes spending of Dh12 billion by Tatweer in hotel and infrastructure, and will be completed by 2010.

Of the total investment needed, Tatweer will spend Dh30 billion in developing hotels and another Dh10 billion on infrastructure that will be raised through its own private equity and debt. The rest is expected to come from investors.

CITYBRANDING > Urban Art: Vital Element or Frivolous Decoration?


Although Memphis might lag behind many large cities in the realm of public art, progress is being made one rooftop at a time. The latest example was "Inside/Out," an outdoor interactive piece exhibited at the South Main Trolley Tour last Friday night.

James Clar, the first artist in residence at the FedEx Institute of Technology, designed the project, said John Weeden, executive director of Lantana Projects, a nonprofit organization started in October 2004 to bring international artists to the city. Weeden also is Rhodes College's assistant director of the Center for Outreach in the Development of the Arts.

Clar is the first visiting artist on the Lantana/FedEx Institute of Technology fellowship for artists working in new media, which primarily is technology-based. The fellowships provide studio space, materials and other needed items.

"What that allows (artists) to do is dream big," Weeden said. "If they need 1,000 LED (light-emitting diode) screens, they can get 1,000 LED screens."

Soaking up the cathode rays

Clar, who originally is from Wisconsin, has been in Memphis since January working on various projects. "Inside/Out" was the culmination of his time in the city.

Much of Clar's work is interactive, and the "Inside/Out" exhibit was created to make people aware of their own movement, Weeden said. Clar installed motion sensors on the ground floor of 10 buildings along the trolley tour route, attaching the sensors to light panels on the roofs so the activity inside the buildings would register outside.

"So if one gallery, boutique or coffee shop was busier than another place down the street, people could see that activity registering via the panels on top of the buildings," Weeden said.

While "Inside/Out" is the latest example of public art, one organization has been working on bringing more of it to Memphis for almost a decade.

The UrbanArt Commission is a nonprofit organization formed in 1997 to, among other functions, facilitate public art projects in Shelby County. The commission works with various groups including the City of Memphis, Memphis City Schools, Memphis Area Transit Authority, Ballet Memphis and the Hope and Healing Center. It helps select artists for projects, then serves as a liaison between artists and clients throughout the application and installation processes.

- The UrbanArt Commission was founded in 1997 and helps bring public art to Memphis.
- The commission has been instrumental in adding art to the Cooper-Young trestle, the Benjamin L. Hooks Central Library and the Cannon Center for the Performing Arts.
- The nonprofit Lantana Projects formed in October 2004 with the goal of bringing international artists to Memphis.
- James Clar, the first artist-in-residence at the FedEx Institute of Technology, exhibited his "Inside/Out" lights display during the South Main Trolley tour recently - a prime example of urban art in action.


Tapping the classics

The most visible projects the commission has helped bring about are the ones at the Benjamin L. Hooks Central Library at 3030 Poplar Ave. and the Cannon Center for the Performing Arts at 255 N. Main St.

In addition to several art pieces inside the Cannon Center, the commission helped bring a large metal sculpture by Brooklyn-based sculptor Vito Acconci to one corner of the building.

The commission also worked with the city in bringing nine art projects to the Central Library, including the outdoor walkway, a large glass installation in the lobby, the lobby's terrazzo floor and glass trees in the children's reading area. The outdoor walkway has quotes from various works of literature, everything from Karl Marx to Dr. Seuss.

The commission also works on smaller projects in police precincts, schools, community centers and other places.

"(The projects are in) places that aren't as highly visible, but certainly are heavily used by the communities surrounding them," said the commission's executive director, Carissa Hussong.

Breaking the mold

The commission usually works with permanent public art, such as the Cooper Young trestle, 12 steel structures that cover a 96-year-old train trestle at the Midtown neighborhood's entrance. The structures are based on buildings throughout the area. The Cooper Young Community Association, which commissioned the work, initially thought of painting "Welcome to Cooper Young" on the trestle.

"Instead they did something that really you couldn't lift up and put into another neighborhood," Hussong said. "You're able to take something that is an eyesore and turn it into an icon, a landmark that people remember."

Hussong said communities should have a variety of public art - from traditional sculptures to less traditional art like Clar's interactive piece - to make a place different from other parts of its community.

"I think we tend to build our environment so there is so much sameness now that you can go out into certain areas of town and you wouldn't know where you were, you could be anywhere in the country," Hussong said. "Public art brings back that sense of place and that sense of community."

When someone drives the same way to work everyday, he or she becomes accustomed to the scenery.

"If you break up that visual pattern, then you have people's attention," Weeden said. "What can start as a quick glance out the side window can really slow people down. Then the closer they get they get intrigued into who did this and what's going on."

'Possibilities in the mind'

Public art also involves the community. When the commission works on projects with the city of Memphis, neighborhood committee members and others help select the art.

"So we know we're creating something the community responds to and is incorporating the community's values," Hussong said.

Public art also supports local artists, giving them work and a reason to stay in a community. It also enlivens the landscape because people enjoy being in creative atmospheres, Weeden said.

"They like seeing variation," he said. "It stimulates the imagination, stimulates thought patterns. It creates possibilities in the mind. It makes people contemplate what else might be done and how the neighborhood could be even better."

When the UrbanArt Commission started, Hussong said she had to tell Memphians what public art was and why it was valuable. While the commission has helped complete more than 60 projects across the county, some of its best work might be in raising awareness. Hussong said she still thinks Memphis is behind many cities when it comes to public art.

"But I think it's nice to know we've gotten past the point to having to explain its value to people just wanting more," she said.

DIGITAL > A fantasy nightclub


Start-up company Doppelganger has launched a virtual nightclub called The Lounge. Designed with teens in mind, club-goers choose computer generated characters as online alter egos. They pick hair color, clothes and even posture. In this picture, avatar characters representing members of the British all-girl band the Pussycat Dolls hang out in the nightclub's VIP room.

ARCHITECTURE > Making furniture with love and simplicity


The name of the design-group and workshop we introduce today may be a little misleading: SuperRobot is not a cyber-technology-crazy project, but instead a very friendly collaboration of architect Keiji Ashizawa and his friends at the workshop. Together they design, invent and build their ideas in “real time design speed” right next door. It is a small, ambitious project creating stunning works with very little.

ARCHITECTURE > The Futuro house


Finnish architect Matti Suuronen designed this UFO shaped dwelling in 1968, initially for use as a ski-cabin or holiday home.

The idea behind the design reflects the optimism of the sixties. At the time people believed technology could solve all problems for the human race. The ideal was of a new era, a space-age, where everybody would have more leisure time to spend on holidays away from home.

The Futuro house was completely furnished and could accommodate 8 people. It was constructed entirely out of reinforced plastic, a new, light and inexpensive material back then. The plan was to mass-produce it, so it would be cheap enough to house all people around the earth. Because it was so light-weight, it was easily transportable by helicopter. Mobile living was the new possibility for the future. People could now take their moveable home with them, to wherever they went, and live like modern nomads.

Unfortunately the 1973 oil crisis spoiled all these plans. Prices of plastic raised production costs too high to be profitable. Only 20 Futuro houses were ever built.

MUSIC > Leonard Cohen: A troubadour at Charles's court


The lugubrious Canadian singer, beloved in bedsit land, is back on the scene with a film and a book. And now he even has royal approval.

The revelation that Leonard Cohen can number Prince Charles among his fervent fans, as the prince reveals in a TV interview involving himself, his two sons and presenters Ant and Dec, comes as a surprise. Charles's musical interests have previously oscillated between the Three Degrees, with whom he danced on stage as a bachelor, and Gustav Holst, whose 'Jupiter' he chose for his first wedding. Altogether different is the image of our future king nodding along to 'Ain't no Cure for Love' or trudging after Diana's cortege with 'Hey, That's no Way to Say Goodbye' running through his head.
Yet here's Charles on screen recommending Cohen to his sons as 'wonderful... I mean the orchestration is fantastic and the words, the lyrics and everything. He's a remarkable man and he has this incredibly laid-back, gravelly voice. It's terrific stuff'.

Clearly the words of a devotee and, given Cohen's reputation as the arch bard of miserabilism and his fascination with assorted religions, the easy conclusion is that Charles's appreciation marks the meeting of two gloomy, self-pitying male minds. In Cohen's case, at least, the reality is more complex. He is, by his own admission, a life-long depressive who has tried numerous cures for his melancholia, among them therapy, yoga, religion and drugs ('recreational, obsessional and pharmaceutical'), though the remedies to which he has repeatedly turned are red wine, beautiful women and poetry. At 71, he's an aficionado of all three.

Yet the charges of despondency and doom-mongering that are usually levelled at Cohen, or 'Laughing Len' as one writer dubbed him, are lazy and unjust, and at odds with both the wit of his songs and his personal charms. Far from being a self-regarding introvert, Cohen is a worldly figure with a winning line in stoical, self-deprecating humour. 'My friends are gone, my hair is grey, I ache in the places that I used to play,' comes the opening line in 'Tower of Song', which goes on to send up the famously limited range of his lugubrious vocals with the quip: 'I was born with the gift of a golden voice.'

Cohen's gifts are many - he's made 15 albums and written 10 poetry books. And he can draw and paint moderately well. But a golden voice is not among his talents. Indeed, his funereal baritone has always been a major turn-off for many listeners, and one reason he has, as he complains 'been filed under gloom'. Accepting an award in 1992, he remarked: 'Only in Canada could someone with a voice like mine win vocalist of the year.'

The drollery and artistry of Cohen's writing - he's a meticulous worker prone to fiddle with lyrics for years on end - helped keep his career alive once the first flush of his success faded in the mid-Seventies, by which time his early albums, stuffed with songs like 'Suzanne', 'So Long, Marianne' and 'Bird on a Wire', had become fixtures in bedsits around the globe.

Cohen was 33 by the time he cut his debut album in 1967, having spent his twenties pursuing the literary ambitions of his youth, living on a bequest from his father who had died when Leonard was just nine. A $2,000 literary award delivered the funds for a European jaunt, but his books didn't add up to a living. Returning to America, Cohen switched to music - as a teenager he'd played in a country band and besides, 'guitars impress girls' - and was introduced to Dylan's producer, John Hammond, by Judy Collins.

The quality of his songs and Hammond's clever production won him cult status, but by the early Seventies, his appeal was wearing thin. His artistic reputation went into decline, not helped by records such as 1977's Death of a Ladies' Man which was made with a disturbed, gun-waving Phil Spector and which Cohen himself described as 'catastrophic'.

He didn't fully recover his artistic poise or critical standing until 1988's I'm Your Man, which delivered his strongest set of songs since the early days, set to inventive backings that included synthesisers and orchestras and recast Cohen's persona as a sophisticated but cynical roue. His subsequent album, 1992's The Future, consolidated his status as grand old man of song with his most political songs to date, among them the dystopic title track and the caustic 'Democracy', which painted an unflattering portrait of the US - 'I love the country but I can't stand the scene' - though as so often in Cohen's work, the song's underlying themes are compassion and salvation.

By then, a new generation of musicians had discovered the riches of the Cohen catalogue, perhaps helped by the inclusion of three songs from The Future on the soundtrack of Oliver Stone's Natural Born Killers. He found himself name-checked in a Kurt Cobain song. Cover versions, which had been commonplace from the start, proliferated, along with tribute albums. REM did 'First We Take Manhattan' and Jeff Buckley made a celebrated job of the mournful 'Hallelujah', a song covered by Johnny Cash and John Cale among many others. More recently, Madeline Peyroux has remade 'Dance Me to the End of Love' into a slinky jazz croon for an audience that was probably unaware of Cohen's original. Classic songwriting never goes out of fashion.

That, presumably, was part of the point Prince Charles was making. Charles's praise for Cohen comes at a useful moment for the singer, who has been forced into feverish activity to raise funds after his manager of 17 years, Kelley Lynch, was found to have filched more than $5m from his bank account, leaving a meagre $150,000 for the 71-year-old singer's pension fund. Though a Californian court found in Cohen's favour in march this year, Lynch has so far shown scant interest in repaying what she stole.

Cohen's sense of betrayal was doubtless exacerbated by the fact that he and Lynch were lovers some 15 years ago. Given that Cohen spent five years in the 1990s as a Zen monk, ensconced in an austere, icy retreat atop Mount Baldy ('The only place in California with a winter,' as one wag put it), Lynch had ample time to ransack her client's account, though it took several years after his return from monastic exile for Cohen to discover the theft.

Cohen's financial loss may prove to be his fans' gain as his normally slow output quickens into what he calls 'incessant work' to generate revenue. His first book of poetry, Let Us Compare Mythologies, published in 1956, has just been reissued, and next month sees the arrival of I'm Your Man, a long-planned film documentary. Last week, he issued an autobiographical volume of poems and drawings, Book of Longing, and to support it played a short set at a Toronto bookshop to 3,000 people, his first public appearance in more than a decade.

Alongside him was his current partner, Anjani Thomas, whose newly released album, Blue Alert, was produced and co-written with Cohen. To compensate for his vocal limitations, he has always used female backing singers, promoting their role on his last two albums, 2001's Ten New Songs and 2004's Dear Heather, to pretty much replace his own disintegrating whisper of a voice. Now, it seems, he has to sing by proxy.

Hawaii-born Thomas is the latest in a dauntingly long line of lovers, creative partners and muses. Women have always played a central role in Cohen's life, not least in the creative process. He has, for example, worked with soul musician and arranger Sharon Robinson since 1988, while Anjani Thomas made her first appearance on the 1984 album, Various Positions

Alternately, women have played the part of muse. 'So Long Marianne' was addressed to Marianne Jensen, a Norwegian beauty with whom Cohen lived an idyllic existence on the Greek island of Hydra in the mid Sixties, where he wrote many of the songs that made him famous. 'Suzanne' was inspired by the wife of a sculptor friend, Suzanne Verdal (hence Cohen only 'touched her perfect body' with 'his mind') and 'The Sisters of Mercy' was composed after he granted two bedraggled sisters refuge in his hotel room, writing the song as they slept in his bed. 'Chelsea Hotel' charts an abrupt, less platonic encounter with Janis Joplin.

It's tempting to trace Cohen's female fixations back to his family life, where his poetry-loving mother, Masha, was an abiding influence, not least because of the early death of his father, a well-off haberdasher. His family tree also includes several rabbis - his great-grandfather founded Montreal's first synagogue - and Judaism remains a central theme of his work, though Christianity features strongly, too, an influence sometimes attributed to an Irish Catholic nanny. Despite his Zen training, he insists he's 'not looking for a new religion, I'm happy with the old one'.

Add good looks, intelligence, a tendency to priapic behaviour and depression and you have the Leonard Cohen that, against the odds, is still being celebrated at an age when most of his peers are either gone, forgotten or have long since hung up their rock'n'oll shoes. If you want an example of how to grow old gracefully, and keep the creative juices flowing as you do so, he's your man.

The Cohen Lowdown

Born Leonard Norman Cohen, 21 September 1934, in Montreal to middle- class Jewish parents. He has two children, Adam (b 1972) and Lorca (b 1974), by artist Suzanne Elrod.

Best of times Idyllic years on the Greek island of Hydra in the early Sixties, living simply with Norwegian Marianne Jensen, for whom he wrote 'So Long Marianne'. Later, as a celebrated fiftysomething lover of fine wine and women.

Worst of times Producer Phil Spector pressing a pistol to his neck during the 1977 recording of Death of a Ladies' Man. In 2004, discovering his manager of 17 years (and former lover) had skimmed his account of more than $5m, which he is unlikely ever to recover.

What he says 'To never have had to have written one word that I didn't want to write, to be able to have satisfied that dictum I set for myself, which was not to work for pay, but to be paid for my work has been an enormous privilege.'

What others say 'You are a refugee/ From a wealthy family/ You gave up all the golden factories/ To see who in the world you might be' - Joni Mitchell describing an attempted liaison with Cohen on 'Rainy Night House'. 'Part wolf and part angel' - Anjelica Houston.

CARS > Back To The Future: DeLorean Motor Co. alive and kicking in Florida


AUTOBLOG.COM: A solid argument could be made for retrofuturism as one of automotive design's defining themes over the past few years... witness offerings like the Chrysler PT Cruiser, Volkswagen New Beetle, MINI Cooper, and more recently, the Chevrolet HHR and Toyota FJ. So could there be a better time to go Back To The Future? That's the question a cadre of Bonita Springs, Florida DeLorean enthusiasts are asking, and apparently they have their answer: a two month wait list.

Eighteen months ago, Naples resident Tony Ierardi opened up a DeLorean remanufacturing operation with the help of Texan Stephen Wynne, who had purchased the rights to the DeLorean name and logo, along with the factory's leftover parts.

The company is now capable of building a "new" be-winged coupes for $42,500-and of course, they're happy to remedy the factory-correct DeLorean's rather sluggish performance for a few dollars more. Ierardi and company are doing so well at the moment that they've already got a wait of upwards of 60 days for their versions of John Z's stainless-steel wonder.

FASHION...EH, CARS, EH...FASHION > Designer fuses his passion for fashion, cars


DETNEWS.COM: Ford manager unveiled clothing line, concept car at Miami Fashion Week.

Camilo Pardo, the chief designer of the macho Ford GT, has been busy creating not just the vehicles we'll see on the road in 2012 but a disposable wedding gown and floppy hat stamped out of highly polished aluminum.

The 43-year-old manager of the advanced design studio at the Dearborn automaker has a passion for sewing. He's got several Singer sewing machines at home and is not ashamed to stop in fabric stores to buy Simplicity patterns that he can alter to fit what he calls his "sarcastic" style.

His fashion and automotive design came together this month during Miami Fashion Week, when he showed off his Mercury Milan Voga (Spanish for "vogue") concept sedan, as well as women's wear.

The clothing line featured such whimsical items as a crossword puzzle dress with a matching purse and a micro-mini skirt and top made of aluminum discs that were provided by automotive supplier Northern Engraving and Machine. One outfit in his Miami collection was inspired by a silver racing suit, with a skirt instead of legs.

Prior to his Mercury clothing collection, Pardo made a bikini out of three Crown Royal whiskey bags and a raincoat with a NASA theme that he says you can wear "if it rains on the moon."

All kidding aside, Pardo says there is a strong connection between fashion and automotive design.

"The way the skin wraps around a vehicle is very similar to the way a dress wraps around a figure," he said. "It's amazing how close they are."

The designer with the ponytail says he was inspired early on by fashion icon Tom Ford at Gucci. Ford made boots and purses that resembled automotive finishes in patent leather and metallic colors.

But Pardo is not predicting a resurgence of patent leather in automotive design.

"We will see fabrics made out of recyclable materials on cars in the future," he said. "Now they look like natural, earthy colors, but we will take it beyond that and make them look more colorful and exciting. Something that is good for the environment doesn't have to look like health food."

BUSINESS > World's most expensive mobile number is 666 6666

The world's most expensive phone number was auctioned for charity yesterday in Qatar.

The number, 666 6666, sold for 10m Qatari riyals or £1.5m.

The previous record holder was Chinese number 8888 8888, which sold for £270,000. The Cantonese word for eight sounds very similar to the word for rich. It was bought by Sichuan Airlines.

The auction started at a million riyals and interest quickly narrowed from eight bidders to just two, according to Kuwaiti News Agency (KUNA).

The auction was organised by national telco Qtel, which has run two previous auctions and plans to run another in September. More details here. We tried phoning Qtel for more details, but they'd all gone home because it was 6pm...

Having seven sixes as your mobile number might seem devilish to some, but interpretations vary. A brief dip into the weird world of numerology shows 666 is seen as holy in Judaism because it represents six directions - up, down, north, south, east and west. Others equate it with the Arabic word "ellah" meaning God.

On a techy note, the first Apple Computer sold for $666.66, the sixth letter of the Hebrew alphabet is w - so www. shows how evil the internet is. And finally, Viagra has a molecular weight of 666.7g/mol. More nuttiness here.

HOTELS > Welcome to the Art Hotel


Innkeepers around the world are tapping local artists to make their work an essential element of a new breed of hostelry.

"It's over for design hotels," says Ian Schrager, the man who invented them. "What once was the exception is now the general rule. It doesn't interest me anymore. I have taken it as far as it can go. This for me is a new beginning. I’m trying to change the game again."

By “this” Schrager means "art," at least as it's embodied in the 185-room Gramercy Park Hotel, set to open this August in New York City. Schrager, who famously worked with designer Philippe Starck on New York's Royalton and others, is collaborating on the property with artist and filmmaker Julian Schnabel to create a "bohemian" spirit -- "but a bohemian with money," Schrager qualifies, describing their vision of “organized chaos,” with canvases propped up against the wall and a sense of "individuality and spontaneity."

Rather than just slapping art up on the walls of the lobby and guest rooms (although they'll do that too), its spirit will permeate the place. Picture flowers plopped into water pitchers set before a painting by Jean-Michel Basquiat.

AROUND THE GLOBE. If Schrager's track record is any indication, the "art hotel" is about to become a big deal. And yet this time around, the man who co-founded Studio 54 isn't the first at the party (even if he is arriving in style).

Hotels have always had artwork, but today the concept is being stretched to new limits, as boutique hotels replace hospitality-as-theater with hospitality-as-installation-art. Around the globe, hoteliers are working with artists (if they're not already artists themselves) to create environments with a sense of style and authenticity -- in explicit retort to the boutique hotel formula, with its contemporary furniture and dimmed hallways.

In part it's a backlash against the democratization of design: Now that there are "W" hotels by the dozen, hoteliers are seeking new ways of standing out. And yet, the hoteliers say, it also reveals the tastes of a generation that has come of age in a flat world.

"I think people are tired of having a pre-described experience handed to them, and they're tired of being disconnected from the life of the city they're visiting," says Christina Zeidler, developer and proprietor of the Gladstone in Toronto, a Victorian-era railway hotel that reopened last year.

TEEN QUEEN. Drawing on her roots in Toronto's lively art scene, Zeidler commissioned different artists to design each of the rooms, encouraging individuality and creativity, while keeping them in check with a prepared booklet that dictated the rooms' functional needs. The results include the Canadiana Room ("a brief, whimsical fantasy of Canada"), Teen Queen (pink walls plastered with teen idol posters), and Faux Naturelle ("a woodsy retreat where lesbian separatist commune meets Storybook Gardens"). Flat-screen TVs and Internet access round out the amenities.

The Gladstone's second floor has artist studios for rent, the top floor boasts a "rock star" suite for $400 (U.S.) a night, and there's nightly live music at the bar, which maintains a crowd of regulars from the hotel's fleabag days. For Zeidler, the combination brings the place alive. "It's not just about art here, it's about community and neighborhood," she says.

And while the hotel is for-profit -- and often sold-out -- Zeidler terms herself a "social entrepreneur." As she explains: "The belief in the individual, and the belief in making things, is still a revolutionary idea, and I think that as a business model it's becoming really successful."

UPSIDE DOWN. That has been the case for Lars Stroschen, a Berlin artist and musician who has become something of a reluctant hotelier. Seeking to raise money for his music (a combination of electronica and vintage instruments) in the mid-1990s, he decorated a couple of rooms in his "very large" apartment and began to let them out.

When the idea took off, he set to work creating the 30 unique rooms of Propeller Island City Lodge, including the Mirror Room (a life-size kaleidoscope), the Upside Down room (just as it sounds; there's a single mattress on the floor), and the Freedom Room (a prison cell with a hole knocked through the wall to allow for escape). "It's like a theater," says Stroschen, who resists being limited by the "art" moniker.

"The term 'art' is very difficult today," he says. "All people think of is money. And of course I have to think of money too, but that wasn't the reason I did it. I like to experiment."

Howard Jacobs, Chief Operating Officer of Portland (Ore.)-based Aspen Hotel Management, employed art for more conventional reasons. For the Hotel Max in Seattle, which opened last year, he asked designer Denise Corso and curator Tessa Pappas to transform the down-at-the-heels Vance Hotel into a showcase for local artists.

SNACKS AND DRINKS. Each guest floor hallway has been given over to a single photographer, whose work plasters the hotel room doors (the fifth floor features Charles Peterson images of Seattle's grunge rock heyday); every guest room has an original painting, prominently labeled with the artist's name. In addition to snacks and drinks, the mini-bar sells "Maximalism," a published catalog of the hotel's artwork, with contact information for each artist.

The cultural patronage is deliberate. "Too often there are some untapped resources in the local community that are overlooked when properties are created, particularly branded properties," Jacobs says. "A brand may bring consistency, but it doesn’t bring uniqueness."

In Chicago, The James begs to differ. As the first property in a new brand launched by Danny Errico (co-founder of Equinox gyms), Brad Wilson (a former manager of "W" Hotels) and Steve Hanson (the New York restaurateur behind Blue Water Grill, Ciana, and Ruby Foo's), The James uses art as "part of its DNA," Wilson says. "One of our brand commitments is the integral experience of art, and partnering with a genuine part of the local art community."

VIDEO VIEW. For its opening last month the hotel sponsored MixArt, a public art exhibition and charity auction organized by curators from the Art Institute of Chicago, the Museum of Contemporary Art, and other local institutions. Gene Pressman, former Chief Executive Officer and creative director of Barneys New York, the high-fashion department store, has overseen the hotel's permanent art program, which includes a video projection in the lobby courtyard.

But you won't find any fun-house rooms at the James. "The James brand is about balance," says Wilson. "Your room is more than just an art gallery -- it's where you live, it's where you work, it's where you sleep. We worked hard to find a balance between the stimulus of the art and the comfort of the furniture."

For Jennifer Rubell, the Miami hotelier and lifestyle writer who is also actively involved in the Rubell Family Collection, a 45,000-sq.-ft. public contemporary-art institution, that's exactly why art and hotels can only mix so much. "Anytime you're worried about how art affects a brand or a place, you're probably leaning toward less interesting art," she says. "Museums don't think the customer is always right."

HOTELS > Victorian Voyage; Hotel Gladstone, Toronto


At the Gladstone Hotel in Toronto, a different artist has created each room. Room 404 celebrates "the awesomeness of Canadiana," say its artists, Jenny Francis and The Big Stuff, a reupholstering business. As they write in the artists' statement that accompanies the room: "We are fabricating nostalgia: a brief, whimsical fantasy of Canada."

Allyson Mitchell, the artist behind room 304 at Toronto's Gladstone Hotel, wanted it to look "like a woodsy retreat where lesbian separatist commune meets (Canadian amusement park) Storybook Gardens."

Artists Susan Collett, Penelope Stewart, and Nicholas Stirling turned room 407 at the Gladstone Hotel in Toronto into a meditation on travel in the Victorian era, when the original hotel was built.

HOTELS > German Symbologys/Not Exactly Free; Propeller Island City Lodge, Berlin


At the Propeller Island City Lodge in Berlin, each room has been created from the strange imagination of artist and hotelier Lars Stroschen. The Symbol Room is plastered entirely in square wooden plates stamped with 300 different symbols.

Room 26 at the Propeller Island City Lodge is called "Freedom." A "friendly prison cell," in the words of its artist, Lars Stroschen, it rents for 80 euros a night.

HOTELS > Giving In to the Art Lobby; Hotel Max, Seattle


Hotels have always had original art, but today the concept is being stretched to new limits, as the boutique hotel's sense of hospitality-as-theater is extended with daring creativity.

At the Hotel Max in Seattle, each floor has been given over to a single photographer, whose work plasters the room doors. On the seventh floor, Seattle-based photographer Roniq Bartenen's surreal photograph of a mannequin in Paris welcomes -- or frightens -- guests.

Sunday, May 28, 2006

SPORT > Fancy footwork


Next month one of the bitterest contests at the football World Cup will take place not between national teams but between sporting goods companies. The three stripes, swoosh and leaping cat - otherwise known as the logos of Adidas, Nike and Puma - will all be jostling for position in the month-long competition in Germany.


Adidas and Puma, the two German companies, are under particular pressure to perform. Adidas, the bigger of the two, intends “to dominate” the competition by spending an estimated €150m on marketing. Puma, which has only a fifth of Adidas’s revenues, is sponsoring more teams than any other brand. The fight is global, but at its heart is a story of a tiny Bavarian town and a bitter split between two brothers.


The two companies are still based in Herzogenaurach - a town of 23,000 inhabitants, where residents seem more likely to wear discount-store clothing than the latest trends.


Pitch Invasion by Barbara Smit, a journalist at the industry bible Sporting Goods Intelligence, is at its best when detailing the extraordinary genesis of the two companies and their fierce rivalry. Two brothers, Adolf and Rudolf Dassler, set up a sports footwear company in the 1920s. The idea of shoes just for sport was unusual at the time, but they were soon pulling off triumphs such as equipping Jesse Owens for the 1936 Olympics in Berlin.


The 1948 split between the brothers - the details of which are laid bare for the first time in this book - divided not only the Dassler family but the entire town with Adidas (derived from the name Adi Dassler) on one side of the river Aurach and Puma (a softer form of a similarly derived Ruda) on the other.


Today, executives from both companies reserve a special sort of enmity for the other; Adidas attempts not to belittle itself by talking about its smaller rival, while Puma believes its cross-town competitor is a country bumpkin compared to its own urbaneness.


Pitch Invasion is a breathless account of how the rivalry brought money and sharp branding into sport - long before upstarts from across the Atlantic such as Nike burst on to the scene in the 1970s and 1980s. Telling anecdotes abound on each page, from the petty - Adidas officials cancelling Puma’s hire cars at big sporting events - to the commercial - Pele and Mark Spitz flashing their logos when they shouldn’t, just to earn their sponsorship dollars.


Even more striking than the rivalry between the brothers, however, is that between the generations in the Adidas family. Adi Dassler, through his focus on product and relationships with sportsmen such as the successful West German football team from the 1954 World Cup, had soon beaten his brother. But his more formidable rival was his son, Horst.


Adi made Horst head of Adidas in France but the son had soon constructed a parallel network. Distributors would face two pitches, one from Adidas Germany and one from Adidas France. Often they would be caught in the middle of family crossfire. Horst even managed to build up an entire sporting goods conglomerate - consisting of Le Coq Sportif, Arena and Pony and the sporting rights company ISL - without his parents knowing. When they found out, it broke their hearts.


Beyond the company rivalry, the book runs out of some steam. It also highlights that ultimately this is the story of Adidas - with a few words and less sympathy for Puma. Other flaws include a fairly uncritical view of the deep and money-oiled relationship Adidas built up with the most important sports officials, men such as Juan Antonio Samaranch, president of the International Olympic Committee, and Joao Havelange, head of the football governing body Fifa.


Smit herself acknowledges in a foreword that the book fails to tackle the Far East factories, described as sweatshops by critics, where sport shoes are produced these days. The book would have been better if she had looked at the question.


Smit shows an unremitting focus on producing a page-turner. While at times this it to the detriment of deeper analysis, she pulls it off with aplomb. Ultimately she highlights how two companies outgrew their traditional family roots and finally prospered after brushes with extinction in the early 1990s. They now stand as two of the most successful German consumer companies, although globally they lag behind their US rival Nike.


And by the World Cup final, both Adidas and Puma will know whether they are headed for promotion or relegation in the next stage of their battle.

SPORT > The dutiful game


Adolf Hitler went to see what was probably his first football match during the Berlin Olympics of 1936. He had meant to attend the rowing at Gronau, but Albert Forster, the Nazi chief of Danzig, had persuaded him to come and watch Germany thrash little Norway instead. Joseph Goebbels, who watched with Hitler, would write: “The Fuhrer is very excited, I can barely contain myself. A real bath of nerves. The crowd rages. A battle like never before. The game as mass suggestion.”

But to Forster’s mortification, Germany lost 2-0. “Not fully deserved,” Goebbels noted. Hitler never saw a football match again. Only after his era did the German football team become an emblem of the German nation. The current team is a national joke, and yet as the country prepares to host this summer’s World Cup, football still helps define the idea of Germany.

Football took off in Germany thanks to the first world war. The troops on the western front played for relaxation and after the armistice they took the game home with them. But the German football team long remained poor. This continued even when Sepp Herberger became Reichstrainer of the national team in 1937, with a swastika on his tracksuit. He would keep the job for 27 years and practically invent German football, yet the 1938 World Cup in France, his first in charge, was a disaster. “Sixty million Germans will play in Paris!” the Nazi newspaper Volkischer Beobachter had trumpeted. After the Germans were swiftly knocked out by Switzerland, Zurich Sport teased: “So 60 million Germans were playing. We only needed 11 footballers.”


It summed up the bad luck the Nazis had with football. They never got used to the game’s uncertainty. After another defeat to Switzerland on Hitler’s birthday in 1941, Goebbels wrote: “Definitely no sporting exchanges when the result is the least bit unpredictable.”


Yet during the war the German team continued playing internationals. Albert Sing, who played in Germany’s last eight wartime matches between April and November 1942, remembers the pressure. It wasn’t so much that the Nazis demanded victory, Sing told me when I visited him in his retirement village in Switzerland, as the fact that the players knew what would happen if they played badly and were dropped from the squad. “You’d go to the front,” he laughed. And anyone sent to the Eastern front in 1942 would very probably die.


In the end the players were sent to the front after beating Slovakia 5-2. This was partly to pacify the mothers who had lost their sons and were asking why others were swanning about playing football. “A month after the dissolution of the team two players were dead, Urban and Klingler,” recalled Sing. Klingler had scored a hat-trick against Slovakia.


Football disappointed the Nazis, yet it was never that important to them, explains Wolfram Pyta, professor of history at Stuttgart University, in a wonderful essay on German football. The Nazi idea of the German nation revolved around soldiers. They were the national heroes. Footballers were scarcely relevant, Pyta says.


The former US secretary of state, Henry Kissinger, spent his childhood in Nuremberg and, like many German boys in the 1930s became a football nut, though a contemporary remembers him as a terrible player. In a famous essay on football and politics written before the 1986 World Cup, Kissinger explains that German football entered the postwar era without a clear heritage. It had never been particularly good, and the national team never very significant.


That changed one Sunday in July 1954 when West Germany beat Hungary in Bern, Switzerland to win the World Cup. The Germans were captained by a former paratrooper, Fritz Walter, and coached by Herberger, now divested of swastika. The match was like a movie long before The Miracle of Bern became the top-grossing film in Germany in 2003. The Hungarians, unbeaten for years, went 2-0 up after only eight minutes, but the Germans drew level in the next 10, and scored the winner six minutes from time. There were then only about 40,000 television sets in Germany, so tens of millions of people on both sides of the Wall listened to the game on the radio. Many had never heard a football match before. The final whoops of the radio commentator Herbert Zimmermann - “Aus [”over”]! Aus! Aus! Aus! The game is over. Germany is world champion!” - entered the national memory.


An 11-year-old pastor’s son named Friedrich Christian Delius listened to the game that day. Later he wrote a novel called The Sunday I Became World Champion. “I still feel a personal, speechless feeling of victory,” Delius explained, “and I am not alone. For us children the victory was a liberation, perhaps because our fathers, who had survived the war, could finally permit themselves to appear more relaxed and happy.”


Every German of a certain age now has a story of that day. When I asked Bernd Holzenbein whether playing for the German team that won the World Cup in 1974 had been the highlight of his life, he replied: “Just like everyone I saw the final of ‘54, as a small boy, on the only television set within a radius of perhaps 10 kilometres. Those players were my idols. I devoured Fritz Walter’s books. 1954 was a symbol of German resurrection. 1974 was less important.”


No doubt the significance of Bern has become stylised in the retelling, particularly in the 1990s when Germans began digging up the happier bits of their recent history, but something momentous did happen that day. The phrase associated with it is, “Wir sind wieder wer” (We are someone again). Finally postwar Germans could be proud of Germany. Yet how could the national team come from almost nowhere to captivate the nation? Pyta says it’s because the country had lost all other national symbols. The flag, anthem, militarism and past heroes had been discarded. Germany was the first nation-state without public nationalism - until that Sunday in Bern. Pyta goes so far as to call that match “the founding myth” of the Federal Republic.


The victory became a clunky dance between the new and old Germanys. All over Germany, when the tune of the national anthem was played to celebrate victory, crowds sang the forbidden lines, “Deutschland, Deutschland uber alles”. Bavarian radio broke off its live coverage of the team’s victory celebrations in a Munich beer cellar after the president of the German Football Federation, Peco Bauwens, began a eulogy to the “Fuhrerprinzip” (the Nazi idea of leadership).


And yet a new kind of German nationalism was born that day. Germans could now unite, in a quieter low-key postwar way, around their football team. Besides the D-Mark it was the one national symbol they were permitted.


Many artists contemplating postwar Germany turned naturally to Bern. Subversive filmmaker Rainer Werner Fassbinder used it in the magnificent finale of The Marriage of Maria Braun. Maria, a dance-hall courtesan turned successful postwar businesswoman, blows herself up in her mansion by lighting a cigarette in the gas oven, while from the wireless set behind her Zimmermann celebrates German victory: “Aus! Aus! Aus! Aus!” To Fassbinder, any German resurrection was suspect.


Gunter Grass, Germany’s Nobel Prize- winning novelist, later included the Bern match in his collection My Century. “What would have happened to German football,” muses Grass’s character, if Hungary’s late equaliser had not been disallowed for offside, “and we had again left the field defeated rather than as world champions... “


The answer is that the German football team might never have become such a symbol of Germany. This could have happened: the national teams of Italy, Spain, France and Russia don’t have nearly the following that Germany’s does. The German team won the World Cup again in 1974 and 1990, yet it never quite escaped the shadow of Herberger. After the war he had decorated his house with pictures of the Christian Democrat chancellor Ludwig Erhard and his favourite Social Democrat politician Herbert Wehner, and continued to coach Germany until 1964. He then handed over to his anointed successor Helmut Schon, who had played for Germany under him in the Nazi years. Schon kept the job until 1978, when he handed over to his anointed successor Jupp Derwall. In other words, there was a long continuity in the era that had begun with Herberger in 1937.


This mattered because the German style of play even today remains the lovechild of Herberger and Nazism. The way a country plays football is often said to reflect enduring national characteristics, but in fact it can be suddenly created. Before Nazism, the Germans seem to have played a soft, slow and skilful football. Then they were subjected to 12 years of rhetoric about war, valour, strength and above all Kampf, a word so central to the Nazi mind that Hitler used it in the title of his autobiography. Kampf literally means “struggle”, but even before Nazism the German word was used with far greater frequency than the English one. A battle was a Kampf, any attempt to do anything difficult was a Kampf, and the Nazis often described life itself as a Kampf (often a Kampf for existence). During the war the nation’s press was filled each day with the manly sacrifices of the Kampfer at the front.


The word was also obsessively overused in German football during the Nazi years. A match was a Kampf, a battling footballer a Kampfer, and to play in a battling manner was kampferisch. After Germany lost to Sweden in 1941, Herberger noted: “The forwards are too soft! No Kampfer!! Against Sweden one can only win with strength and Kampf, speed and hardness!!”


Men in German football imbibed this sort of talk for 12 years. Here is Fritz Walter writing about a wartime game between his air force team, the Red Hunters, and a Cologne side: “Both goalkeepers are under constant fire... The Hunters’ defenders... defuse the dangerous projectiles. Leine’s ‘bomb’ [a hard shot] whizzes narrowly past the post... The men of Cologne carried their hopes of victory to the grave.” Many match reports of the Nazi era read like this. Aspiring German players learned that soldierly virtues were valued most. When Walter joined the army he received a letter from Herberger saying “A good footballer is also a good soldier!” The Nazi atmosphere inevitably made the German team’s style more aggressive and kampferisch.


Germany’s postwar leaders tried to eradicate the cult of the soldier. The army was all but abolished, references to dead Kampfer frowned upon, and the word “Kampf” itself began fading from the collective vocabulary. But long-established cults don’t suddenly disappear. Moreover, Herberger was still running the national team, and he perpetuated Kampffussball. He won in Bern with a team of Kampfer who defeated the more skilful Hungarians in the mud (the image of the trenches of the Great War escaped few observers).


The German game remains characterised by Kampf, strength and never giving up. Generations of the country’s footballers have been raised in a style of play set under Hitler. The military antecedents of this style are now forgotten, and would be considered an embarrassment if remembered, but they live on in players’ nicknames. The great striker Gerd Muller was “der Bomber”, any decent playmaker is a “Feldmarschall”, and Franz Beckenbauer, greatest German footballer of all, was “der Kaiser” - monarch and soldier in one. This soldierly tradition disappeared from German life but perpetuated itself in football, simply because in football nobody ever felt the need to eradicate it.


But Herberger didn’t build a great tradition on Kampf alone. He set a perfectionist tone that survived until the 1990s. A whiff of farce clings to almost every England manager, but in Germany, as the Suddeutsche Zeitung newspaper once noted, manager of the national team has always been “a title that rings with respect, rather like head of Deutsche Bank or president of the Constitutional Court”. The German team was an institution with its own initiation rites. In the Nazi years, a novice international would be greeted with a practice known as the “Holy Ghost”, which seems to have consisted of the whole team pulling down his trousers and smacking him on the bottom.


The German team stood for a standard of excellence. True, there was booze, poker and illicit sex (in 1980 a Montevideo prostitute was asked at gunpoint to hand back $100, the amount by which she was judged to have overcharged a player) and players were also always squabbling. But that was the consequence of throwing together driven personalities. Everyone - the manager, the press, the players - demanded excellence. The German habit of scoring in the last minute, playing worse but winning, and winning on penalties, were nothing to do with luck but with concentration and drive. Striving to meet the standard of excellence, nobodies won World Cup medals.


The world championships of 1954, 1974 and 1990 were milestones in German nationhood. Each was celebrated on both sides of the German border. A few fans in East Germany even travelled to West Germany’s games whenever the team ventured behind the Iron Curtain. One of them was Helmut Klopfleisch. The country’s secret police, the Stasi, sparing no expense, would go with them. “K., by his behaviour at the People’s Republic of Bulgaria vs. the Federal Republic of Germany, has significantly damaged the international reputation of the GDR,” an agent reports sadly in a note in Klopfleisch’s thick file. The agent mentions a number of other football dissidents who likewise blotted East Germany’s noble reputation. In 1989 Klopfleisch was expelled from East Germany. He told me: “I spent 41 years of my life in the GDR, and now it feels like wasted time, though we lived then, and had fun sometimes. And, you know, it was a real consolation that West Germany were so successful. They always beat eastern teams. That meant a lot to us.”


It meant a lot to millions of Germans. Yet most of them expressed their pride quietly. When I asked Lothar Matthaus, who has played the most games for Germany, whether it moved him to represent Germany, he said: “It’s an honour to represent a whole country, such a big country where so many people play football. I don’t feel any more than that.” Germans of Matthaus’s age (born in 1961) rarely do nationalism. Pyta describes watching a German team during the national anthem before a match: “Not one moved his lips to sing along.” Most were not familiar with the third line of “Das Lied der Deutschen”.


These German football teams traumatised their neighbours. The worst memory in French football history is the defeat to Germany in the semi-final of the World Cup of 1982. A recent French documentary about the match featured the now middle-aged French players standing around in their civvies on the fateful field in Seville re-enacting the goals.


The worst Dutch football memory is the lost World Cup final of 1974, recently mourned in a bestselling book. The worst English memories are probably the defeats to Germany in 1970, 1990 and 1996, summed up by the phrase “Thirty years of hurt” in the English football hymn “Football’s Coming Home”.


For years, fear of the German football team was intertwined with fear of Germany. The country was the largest in Europe, its economy wouldn’t stop growing, and who knew when it would next start a war? That fear prompted Margaret Thatcher and Francois Mitterrand to try to block German reunification after 1989. Germany’s victory in the 1990 World Cup seemed of a piece with its general dominance.


I came to live in Berlin as a student in September 1990. A week later, on the evening of October 3, I wandered down the Unter den Linden in Berlin to see Germans celebrating reunification. The country was about to become a superpower. Franz Beckenbauer, Germany’s victorious manager that summer, had said that with East German players about to become eligible, the national team would be “invincible for years to come”. The Unter den Linden was full that night, but apart from a few East Germans downing champagne, most people were wandering around quietly too. Like me, they seemed to be just looking. Walking down the most pompous boulevard of an empire on the night of its greatest glory, you seldom realise that this is the moment that the empire starts to collapse.


Since then Germany has become a country with a stagnant economy, a skeleton army, and a laughable football team. Germany has not won a prize or even a European Championship match since 1996. It has not beaten a front-rank nation since defeating England at Wembley in 2000. Having sufficed with two managers from 1937 to 1978, Germany has been through so many recently that in 2004 Spiegel magazine printed an application form for its readers to send in: “You want to manage the German national team? No problem!” The job went to the former German international Jurgen Klinsmann. He has not only continued losing while living in California, but also intends to get rid of the legendary German white shirts with the black eagle, thus stripping the team of all remaining mystique.


The German decline is mind-boggling for a country of 82 million people with three World Cups in the cupboard and whose football federation claims to be the largest sports body on earth with 6.3 million members. It can only be explained by the loss of Germany’s competitive advantage: other countries discovered Kampf.


Herberger made the Germans the fittest and hardest-working footballers on earth. But later their rivals began looking after their bodies: British footballers cut down on the beer, the French began to tackle, and big Italian clubs now have medicine cabinets the size of small hospitals. It then emerged that the west Germans could not compete on technique or grace. “Germans dance like refrigerators,” lamented the team’s then coach, Berti Vogts, in 1998. By far the most skilful player in the current side, Michael Ballack, is not by chance an east German. Ballack was raised under the old Communist system in Karl-Marx-Stadt (now Chemnitz) where he was forced to do daily repetitive drills using both feet. It paid off.


The other players are so poor that Germany entered the last World Cup as perhaps the first team in history built around a goalkeeper, Oliver Kahn. They have now slipped to 22nd in football’s world rankings, though looking on the bright side, as Klinsmann always does, they still remain well ahead of American Samoa in 205th place. And in a generation’s time, with Germany’s collapsing birthrate, 22nd place will seem quite commendable.


The Germans have learned to laugh at their team. They have mastered the ironic self-flagellation that used to be an English speciality. The German establishment, too, seems to accept the team’s collapse. It is not seeking victory in the coming World Cup. German football tried victory, and it only irritated the neighbours. The goal this summer is to charm them. The slogan of the World Cup is “A time to make friends”. The event’s logo is a laughing face - a “smiley”, in internet jargon. The former interior minister Otto Schily admits: “A cheerful Germany, that’s not necessarily what people associate with us.”


Meanwhile the German advertising man Sebastian Turner is running a campaign to promote Germany worldwide, called “Land of Ideas”. He told me: “Country images are extremely stable. They are probably the most stable images you can have.” But this World Cup will be the biggest media event in history, and 20,000 foreign journalists will show up in Germany, many of them without match tickets. It’s the country’s chance to remake its image. Turner explains: “The Thailands of the world don’t care much about Germany, and they are probably right. After these weeks they won’t think of Germany again.”


This summer Germany can rebrand itself as a people of smileys who invented the book, the aspirin, the Porsche, the modern football shoe and so on. But if the Germans really want to remove the last vestiges of fear of Germany, they know what to do: keep losing football matches.

Wednesday, May 24, 2006

BRANDING > Grand Opening of the World's First KISS Coffeehouse

Myrtle Beach, SC - If you want rock and roll all night, KISS Coffeehouse will be the place to be. On Tuesday, June 27th, legendary KISS band members Paul Stanley and Gene Simmons will be on hand at Myrtle Beach South Carolina's Broadway at the Beach to cut the ribbon on the most outrageous coffee and dessert shop ever constructed.

Through a deal brokered by Signatures Network, Inc., KISS's exclusive merchandising company, the KISS Coffeehouse in Myrtle Beach, SC is the first licensed coffeehouse by the band known for their incredible stage show, face paint and full throttle rock and roll.

"The idea was to take the energy and excitement of the live KISS show and bring it into a retail setting," explains long- time KISS fan and storeowner Brian Galvin. "KISS fans will not be disappointed!" pledged Galvin, who knows firsthand the high expectations loyal KISS fans will have for this concept. The coffeehouse will also serve as an official KISS Army recruiting office, exposing new fans and reminding die-hard supporters why KISS continues to be one of the most exciting bands in history.

With over twenty foot tall smoking KISS boots flanking the storefront and rare KISS memorabilia and costume pieces on display, the KISS Coffeehouse raises the bar for retail design. "This will become a major tourist attraction," states Galvin confidently. "This is truly the most exciting coffee shop on the planet!"

The KISS Coffeehouse menu will feature Signature KISS Coffee, including Demon Dark Roast and French KISS Vanilla, eight flavors of the KISS Frozen Rockuccino™, the most caffeinated and refreshing coffee beverage on the market, as well as full array of cookies, brownies and cupcakes. For more info and a complete menu list, please log on to http://www.kisscoffeehouse.com/menu.htm

According to Paul Stanley, "The KISS Coffeehouse is our way of providing everyone with the buzz of great, quality treats and coffee filled with enough sugar and caffeine to get the party started, and keep it going!"

Gene Simmons adds, "Every army needs food and drink and the KISS Army is no exception! Even the non-enlisted will find our treats and java rockin' good!"

To add to the Grand Opening festivities, KISS tribute band, KISS Army, will be performing on the Celebrity Square Stage at Broadway at the Beach from 8:00- 10:00 p.m., when a KISS- style fireworks display will light up the sky in front of the shop. Myrtle Beach's classic rock station, Wave 104.1, will promote the event and will be on site broadcasting live.

In conjunction with the opening, 1,000 bags of the KISS Army Blend will be shipped to the US Armed Forces serving in Iraq. "Anything we can do that lets our brave armed forces personnel know that they are always in our hearts and on our minds is a small token of our deep appreciation for the sacrifices they make every day for us. We pray for their safe return," said Stanley.

ABOUT KISS

KISS is famously recognized for its foot-stomping hard rock hits and the use of face-paint, elaborate costumes, and wildly over-the-top stage shows riddled with pyrotechnics. KISS has sold over 80 million albums, broken every box office record worldwide and is second to The Beatles in the number of Gold Records sold by any group in history. For more information, please visit http://www.kissonline.com.

Tuesday, May 23, 2006

BRANDING > Nike and Apple Team Up to Launch Nike+iPod


NEW YORK—May 23, 2006—Nike and Apple® today announced a partnership bringing the worlds of sports and music together like never before with the launch of innovative Nike+iPod products. The first product developed through this partnership is the Nike+iPod Sport Kit, a wireless system that allows Nike+ footwear to talk with your iPod® nano to connect you to the ultimate personal running and workout experience.

Nike CEO Mark Parker and Apple CEO Steve Jobs unveiled Nike+iPod at an event in New York attended by seven-time Tour de France champion Lance Armstrong and marathon world record-holder Paula Radcliffe.

“Nike+iPod is a partnership between two iconic, global brands with a shared passion for creating meaningful consumer product experiences through design and innovation,” Parker said. “This is the first result, and Nike+iPod will change the way people run. Nike+iPod creates a better running experience. We see many more such Nike+ innovations in the future.”

“We’re working with Nike to take music and sport to a new level,” said Steve Jobs, Apple’s CEO. "The result is like having a personal coach or training partner motivating you every step of your workout."

The new Nike+ Air Zoom Moire is the first footwear designed to talk to iPod. Nike plans to make many of its leading footwear styles Nike+ ready, connecting millions of consumers to the Nike+iPod experience. With the Nike+ footwear connected to iPod nano through the Nike+iPod Sport Kit, information on time, distance, calories burned and pace is stored on iPod and displayed on the screen; real-time audible feedback also is provided through headphones. The kit includes an in-shoe sensor and a receiver that attaches to iPod. A new Nike Sport Music section on the iTunes® Music Store and a new nikeplus.com personal service site help maximize the Nike+iPod experience.

Armstrong, who is preparing for his first NY Marathon, said, “If you can incorporate time, distance and calories burned together and make it function for both the fitness runner and the high level athlete, it will take working out to a whole other level.”

“I definitely use music both ways,” Radcliffe said. “I listen to faster music if I am doing a workout in the gym to just get the best out of myself, but I also use it to help me relax in the buildup to a big race.”

Specially designed Nike apparel, including jackets, tops, shorts and an iPod nano armband, bring together the Nike+iPod experience with waterproof pockets that accommodate iPod nano and are designed to make it easy to operate while staying tuned to your music during an active workout.

DIGITAL > A Weinstein Will Invest in Exclusivity


Most popular Internet communities, like Facebook.com or MySpace.com, measure their success by their ability to attract new members. A notable exception to this rule is aSmallWorld.net, an exclusive online community that is about to get bigger.

The Weinstein Company, the production business started by Bob and Harvey Weinstein after they left Miramax, has invested in aSmallWorld, the company will announce today. The Weinsteins, whose multimedia portfolio includes Miramax Books and a magazine publishing company, Niche Media, head a team of investors including Robert W. Pittman, former chief operating officer of AOL Time Warner. The company declined to put a dollar figure on its investment, describing it only as "significant." The Weinstein Company was attracted to aSmallWorld by the community's social networking and advertising opportunities, Harvey Weinstein said in an interview. This is the company's first investment in an online venture.

ASmallWorld, a private company founded in 2004, has approximately 130,000 members, or about half the number who join MySpace each day. On its log-in page, it describes its members as "like-minded individuals" who share the "same circle of friends, interests and schedule."

Invitations are difficult to come by: only some members have the right to invite friends to join. According to Erik Wachtmeister, the site's founder and the son of a former Swedish ambassador to the United States, a panel considers 12 to 15 variables before permitting certain users to issue invitations.

"You don't want to let just anyone invite," Mr. Wachtmeister said. Asked what those variables were, he replied that it's a "secret sauce."

Mr. Wachtmeister said he had the initial idea for the community in 1998, having lived in 10 cities. While traveling, "you see the same people over and over, gravitating toward each other," he said.

Once admitted, members have access to "trusted and select information," the site says, like nightclub or restaurant recommendations from other members. Those who abuse the system by trying to network with celebrity members can quickly find themselves out of the club.

"We keep track of people's behavior and we actually do kick people out," Mr. Wachtmeister said. Although he declined to identify celebrity members, media reports have named Quentin Tarantino, Ivanka Trump and Naomi Campbell.

The Weinstein Company's investment may affect the community's size, if not its purpose and membership. According to Mr. Weinstein, his company will be expanding aSmallWorld, while maintaining its membership restrictions and its appeal to a "smaller, more select" audience. "I think we'll become very successful with one million people," he said, "but we have to find the right one million."

Saturday, May 20, 2006

BUSINESS > Apple opens flagship store on Fifth Ave.

(AP) -- When Apple Computer Inc. opens its newest store Friday on the same New York shopping strip as Prada, Tiffany & Co. and Saks Fifth Avenue, it'll mark five years of a distinctive retail style that both reinforces the company's brand cachet and pays off handsomely.

Like most other openings since Apple unveiled its first retail outlet in McLean, Virginia in May 2001, anxious visitors will be lined up outside, waiting. Some began forming a queue on Thursday.

It's not because of Black Friday-like markdowns. Other than free computers and commemorative T-shirts being given to the first wave of visitors, the attraction is Apple itself. The company, with its Macintosh computers and iPod music players -- and now its stores --has built its empire on simplicity and a user-friendly approach. And other retailers have taken note.

"The stores have been super successful and a real contributor to Apple's success," Apple Chief Executive Steve Jobs said in a phone interview a day before heading to the New York opening. "It's bringing a whole new generation of customers to Apple and the Mac, and that's really important to us."

Analysts predict the latest store will be a magnet. Others already draw more than 10,000 visitors a week, on average. Altogether, Apple's stores pulled in $2.35 billion in sales in fiscal 2005, making it one of the fastest growing retailers in the world, according to Retail Forward, an Ohio-based consulting and market research firm.

The stores' growth rate in revenue per store -- an increase of 44 percent from 2004 to 2005 -- eclipses industry norms. By comparison, major retailers like Target Corp., Wal-Mart Stores Inc., and Best Buy Co. Inc. saw growth rates of 3 percent to 6 percent in 2005.

Apple's stores also reap more revenue per square foot than others: Its annual sales of $2,489 for every square foot of space is more than eight times that of Target and 21/2 times that of Best Buy, according to Forrester Research Inc.

The stores, along with innovative products like the iPod, helped Cupertino, California-based Apple reach a record of nearly $14 billion in revenue last year.

"What the stores have done is really build the Apple brand," said Charlie Wolf, an analyst at Needham & Co., an investment banking and asset management firm. "It's so consistent with what Apple is that it has really added value to the entire enterprise."

Apple stores feature stark white walls and wood floors. Web-connected computers and iPods are arranged sparingly on tabletops, beckoning for a test drive. An abundant staff of knowledgeable salespeople -- who don't work on commission -- are there to help when needed, but otherwise hang back, adding to the low- to no-pressure sales environment.

The larger stores host free how-to workshops, while all stores have "Genius Bars" where technicians fix Apple equipment and answer questions.

"Other retailers are also increasing the hands-on experience, but no one has done it as well as Apple," said Mary Brett Whitfield, a Retail Forward analyst.

A recent visit to a bustling store in San Francisco yielded only positive comments:


Mike Greaves, 28, used to drive miles to get to a shop that serviced Macintoshes. "And you didn't get as good quality of service," he said, picking up his Mac Mini from a free repair at the "Genius Bar."


Sarah Bunje, 67, sat through her sixth in-store workshop on iPod-iTunes since last November. "I always learn something new," said the Foster City, California resident.

Apple stores have been profitable since September 2003, but when Apple first launched its retail initiative amid a declining PC market and other failing electronics retailers, most notably Gateway's stores, it was viewed as a risky move.

Apple saw it as a way to improve its reach.

"The stores offered a much better way to deliver the product than being in the back of a Best Buy," said Andrew Neff, an analyst at Bear Stearns & Co. Inc.

Jobs and his lieutenants paid careful attention to every detail -- from the nuts and bolts of the stores' designs to its operations and customer service. Ron Johnson, a veteran retail executive who worked at Target before Jobs recruited him to lead the Apple stores, still personally interviews each store manager.

"A lot of people thought we'd fail," Johnson said. "But five years later, there's a lot of evidence we're successful."

The popularity of the iPod helped drive traffic and sales, but computer sales have also steadily grown. In fact, more than 50 percent of the computers sold at Apple's stores each day go to customers buying their first Mac.

Apple on Fifth
The new Fifth Avenue store, next to FAO Schwarz and across the street from Bergdorf Goodman, will be Apple's 147th, and its first to stay open around the clock. It will also have the largest staff of 300 workers.

Other Apple stores are scattered throughout the United States in high-traffic shopping locations. There also are six each in Japan and the United Kingdom, and two in Canada.

The striking Fifth Avenue entrance -- a 32-foot glass cube emerging from a gray and white marbled plaza -- was inspired by I.M. Pei's glass pyramid at the Louvre in Paris, said Jobs, who helped design it.

Wide doors lead pedestrians down a circular glass-and-steel staircase, swooping them into the inner sanctum of the subterranean but well-lit store.

The property's owner had solicited Apple to set up shop there, Jobs said.

And now, Johnson said, "in the city that never sleeps will be the store that never closes."

CARS > Shelby Mustangs: $20,000 over sticker

GT500 will not be released until later this month, but dealers pre-selling cars on the Internet get high prices.

NEW YORK (CNNMoney.com) - Ford hasn't yet announced the price of the 2007 Shelby Cobra GT500. But, whatever it is, buyers have already indicated a willingness to pay at least $20,000 more.

The Shelby Cobra GT500 is a version of the popular Ford Mustang equipped with a 500-horsepower supercharged V-8 engine. The original Shelby GT500s, made in the late 1960s by race driver turned sports car maker Carroll Shelby, are now highly coveted collectibles that can sell for hundreds of thousands of dollars. (Far fewer of those cars were built than the approximately 8,000 per year a Ford spokesman says will be made of the new version.)

On eBayMotors.com, one Texas dealership is advertising a 2007 Shelby GT500 with a "Buy it now" price of $99,999. So far, no-one's paid that much, but bids in that auction were already over $65,000 as of Wednesday afternoon.

The first 2007 Shelby GT500s are expected to arrive in dealerships at the end of May with most dealerships getting just one or two to sell.

Ford's sticker price for the car is expected to be about $40,000. Some dealers advertising on eBayMotors are asking for bids in terms of the amount over the sticker price the buyer would agree to pay.

Currently, bidders are offering to pay $20,000 or more over the car's sticker price.

Shortly after the GT500 was unveiled in April, 2005, an interested buyer went into Corey's Northgate Ford in Binghamton, N.Y. with a check for $1,000 for the right to buy a GT500 for sticker price whenever the car became available, said Scott Prancue, the dealership's general manager.

"Thank God I didn't take it," he said. "I would have been fired."

In early May, Prancue's dealership accepted a bid of $13,000 for the right to buy one of the cars at its full sticker price. Had the auction been held today, the price would almost certainly have been higher.

Buyers who are willing to pay $20,000 or more for the car are trying to get the first ones produced as those are always the most desirable, said John Aguire, Ford's brand manager for the GT500. While Ford sets suggested retail prices for its cars, the manufacturer cannot ultimately control the amount dealers will sell them for, he pointed out.

"I'm not surprised at how high demand has been," he said.

Dealers who are auctioning the rights to buy the cars are just trying to get a fair market value for them, said Prancue.

While it's not unusual for certain trendy cars to sell at prices higher than the manufacturer's suggested retail price, the amounts over the sticker price are usually a few thousand dollars at most. There have been cars that have regularly sold for tens of thousands of dollars over their suggested retail price, but those have been exotic cars with prices well over $100,000 to begin with.

Ownership of the the first 2007 Ford Shelby Cobra GT500 available for sale was purchased for $600,000 at the Barrett-Jackson collector car auction in Scottsdale, Ariz. in January. Proceeds from that sale went to charity.

The GT500 benefits from its relationship to the original, highly collectible Shelby cars as well as to the current Mustang, which has turned out to be a hit for Ford in its own right.

Still, actual selling prices will eventually come down to something at least closer to the sticker price, said Jim Hossack, of the automotive industry consulting firm AutoPacific.

"It's a handful of people willing to pay that much," he said.

Wednesday, May 10, 2006

DIGITAL > Brave New Values at Myspace

Take a number, pal.

Web etiquette goes wacky when ranking friends becomes an exercise in lifeboat ethics.

LET'S begin with an exercise. First, name the eight most important people in your life — friends, family, rock stars. These are your Top 8. Now rank those people in order of importance. Finally, send a copy of this list to everybody you know, including people who didn't make the cut. Be careful not to hurt the wrong feelings, or you may end up getting bumped from other people's Top 8s.

Go ahead and bite your nails. Realize the magnitude of these decisions.

OK, so, you're either lost in terrifying flashbacks of middle-school cruelty — or you've already made such a list, already showed it to all your friends, and since you didn't make all their Top 8s, you've already deleted the offenders from your list (and prayed they noticed). In other words, you're already on MySpace.com or one of the many other social networking websites such as Facebook.com or Friendster.com, doing your best to navigate this complex new world of friends-of-friends-of-friends-etc. with as few social casualties as possible.

If the Internet was once ungoverned by etiquette, those days are gone; MySpace and its siblings, by many accounts the future of the Net, are rife with discussions of good manners versus unforgivable faux pas. There isn't an aristocratic class, just yet, but you can see the lines forming in the sand, renegades and bad boys posting bulletins pell-mell, uploading risque pictures, collecting "friends" as if it's all some big popularity contest — while mannered netizens look on disapprovingly. Screw up and you just might get dumped, online and off.

J.D. Funari is hoping that clarity prevents offense. A week after logging onto MySpace, the 24-year-old TV editor from Studio City posted a disclaimer above his Top 8: "Since this 'preferred' listing of friends can quickly become unnecessarily political, I'd like to briefly explain my sorting technique," he wrote.

"The first spot will always be my brother (for obvious reasons) and the second spot will always be my friend Katie (for reasons obvious to Katie and I). The third and fourth spots are reserved for music and movies of interest. Five and six are wild-cards which may be related to how well I know the person and/or if I'm dating them (opposite sex only) and/or if they've paid me for inclusion. The final two spots are, to be perfectly honest, the two most attractive current female photos from my list of friends."

The posted explanation sent ripples through Funari's 97 interconnected friends. "It's very flattering," says Katie Rose Houck, 23, an actress in Los Angeles who occupies slot No. 8, reserved for attractive females. "We've only known each other for a couple of months, and we have a flirting banter going on between the two of us. This reaffirms that he knows that I'm pretty, that I know that he thinks I'm pretty, and all of his extended friends know that he thinks I'm pretty."

Houck admits laughingly that she has browsed through Funari's other friends to see whom she bested. Then again, she is No. 8 on the list, while No. 7 went to Amy Vo, a 25-year-old receptionist from Maryland, who happens to be wearing a bikini in her MySpace picture. "I have an outfit on, so of course Amy is going to get the first spot," says Houck. "Naked wins over pretty."

Vo has never actually met Funari in person; the two connected through Funari's No. 1 friend, Katie. It went like this: Funari clicked on Katie's picture and was whisked to her profile, where he spied Vo in spot No. 3. He clicked over to Vo's profile and sent her a message. "He said, 'Oh, you're so pretty,' " remembers Vo. "And I said, 'Oh, you're so nice.' " Then Funari requested Vo as a friend, she accepted, and soon she rose to spot No. 7 on his page. (Alas, Funari, you're absent from Vo's Top 8.) These, the newfangled dances we dance.

At first it seems as if Funari's strategy might just work. Play the honesty card, let people know where they stand, watch them celebrate or nurse their wounds and then move on. But life threatens to throw a monkey wrench into his beautiful absolutes. "The first spot will always be my brother," his rules explain. Problem is, Funari has two younger siblings who will soon be logging on themselves. What then? And what if he gets serious with a girl — will she be happy at sixth place?

"If he was my boyfriend, and he didn't put me in the top 5, I would be a little offended," Houck says. "And if he kept his best girlfriend at No. 2 — and she's pretty! — I would be a little offended. Maybe that's why he's still single."

Well, he is single. It says so right on his page: "Status: Single." MySpace profile pages are customizable in many ways; you can add pictures, music, write blogs, list your interests or skip all this entirely. You can allow friends to jot comments directly onto your page, viewable by all, or you can retain absolute control. But try as you might, you can't avoid classifying your relationship status, which isn't always easy to do.

After the Top 8, relationship status causes the most ire in the MySpace world.

"It gets highly dramatic," says Danah Boyd, a doctoral student at UC Berkeley who is studying the culture of social networking. "Sometimes one person thinks they're single while the other person thinks they're dating…. You can't have your status be, 'I'm in a relationship that I'm not entirely thrilled with, I'm waiting for something better, come talk to me.' "

What results is an inordinate amount of "swingers," an allowed choice that's sufficiently deviant for teens, ironic for adults (minus actual swingers) and has quickly become socially acceptable within the MySpace mainstream. Still, there remain many conventionalists who choose "single" or "in a relationship," and watch their physical and digital worlds intertwine.

Five months ago, 27-year-old James was "in a relationship," according to his MySpace page. Then James, a New York public relations executive who declined to provide his last name, broke up with his girlfriend and switched to "single."

In the real world and online, James and his ex remained friends, so when James started dating another woman, he didn't want to rub it in his ex's face. He delicately broached the MySpace topic with the new girlfriend, and they agreed not to switch their designation to "in a relationship" just yet. So: single online, together off.

It was four months of limbo before James and his girlfriend decided the time was right. "I was at her Easter family dinner," James remembers, "and that pretty much constitutes a relationship."

They went online, made the change and all's well — unless things go sour. "There's a tension that never existed before," James says.

In this case, James and his girlfriend were making the safe assumption that their exes engage in "MySpace stalking," the practice of secretly keeping tabs on friends, lovers, co-workers, celebrities or complete strangers by reading their profiles.

If stalking in the real world implies some dangerous psychological imbalance, on MySpace it's essentially the norm, although etiquette suggests that you keep your stalking to yourself. Mention so-and-so's dating status too loudly in the wrong context or without the required I'm-just-kidding jocularity and you risk being judged a stalker in the regular sense.

Where there's stalking, there's reverse stalking. After all, wouldn't you want to know who's watching you? To watch them watch you without them knowing they're being watched? Um, of course you would. At first. And then you realize that if you watch whoever's watching you, then you'll also be unveiled to everybody you're stalking, which puts a real damper on the initial voyeuristic enterprise.

Some social networking sites, such as Friendster, allow users to view who has visited their profiles; MySpace does not. Which simply means that MySpacers are more desperate than ever to unearth a reverse-stalking technique and then hide it from everyone they know.

In February, James hit gold. He came across a website, Whospyme.com, which gave users the ability to watch the watchers. Unlike the dozens of hoaxes circulating throughout MySpace, this one actually worked. "It showed who visited my page and the exact time they visited. One girl, an old friend, checked it almost every hour." James was omniscient for nearly two weeks until MySpace blocked Whospyme, returning him to darkness.

Tom Anderson, president of MySpace and its most beloved member — he regularly receives marriage proposals among the thousands of comments on his profile — explains: "We can't allow somebody to create a service like that, which reveals who's looking at your page. That's a violation of privacy." If MySpace were to unveil such a feature, Anderson says, each user would get to make an individual decision about whether to be traceable. Yet another decision fraught with online and offline complications.

There are plenty of other decisions to make in the meantime:

Number of friends: Too many, you're deemed a "MySpace whore," too few, a loser. (Caveat: If you're in a band, or you're a middle-school kid who lied about your age to get on MySpace and are competing with friends to see who's most popular, "too many" is a good thing.)

Profile picture: Posing in your skivvies opens you to scorn, but, depending on your friends, it may also increase the probability that you'll score some Top 8 spots. "I can't stand it when people put pictures up, trying to look all sexy," says Lori Carter, 25, a Salt Lake City office manager. More specifically, Carter can't stand it when her husband accepts such people as his friends.

Grammar: "I am not a grammar Nazi," says Michael Block, 23, an L.A. search engine marketer who uses MySpace and Tagworld.com. "But I do feel terrible for words like 'probably' and 'someone' that are constantly bastardized into 'prolly' and sumone.' " Etiquette here is often divided by age, with teens writing in slang that evokes fury in their twentysomething elders. Block has been unable to decipher this message, for instance, which he received from a 15-year-old stranger from Florida: "y u want people 2 look at u 4. u thinken that u looken sweet 4 da females."

Bulletins: These are messages that users post to virtual bulletin boards. Perhaps the most common social networking pet peeve are posted versions of the chain letters of yore, the "if you don't send this on you'll never fall in love again and then you'll die a horrible death" variety.

If you've steered clear of social networking so far, enjoy that simple existence while you're able. Sooner or later friends will ask — then demand — that you migrate toward multidimensionality. There are more than 76 million people on MySpace (about 270,000 join daily), and Anderson wants to expand the MySpace experience until the entire Net rests within it. "Anything you do on the Internet, I want you to be able to do on MySpace," he says. "That's the goal and ambition. Almost all the things you can do online can be enhanced by the social structure of MySpace."

Which suggests that the Top 8 will become only more central to the human experience, more dizzyingly complex.

"It's the Seinfeldian Speed Dial Dilemma of our generation," says Sarah Ciston, 22, a page designer at the Long Beach Press-Telegram. "I love it. But I think you should also get a Bottom 8, or a Bottom 20. A hall of shame of sorts."