Word: jukeboxes
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...disagree with Lev Grossman's hesitation to call the iPhone revolutionary because "it won't create a new market or change the entertainment industry the way the iPod did." The iPod wasn't the first portable MP3 player, and iTunes wasn't the first MP3 computer jukebox program. They were simply the best. I didn't buy an MP3 player until the iPod, and I didn't use an MP3 jukebox before iTunes. Guess what? I don't own a cell phone, but, as soon as I can almost afford an iPhone, I'll buy one. It isn't just...
...disagree with Lev Grossman's hesitation to call the iPhone revolutionary because "it won't create a new market or change the entertainment industry the way the iPod did." The iPod wasn't the first portable MP3 player, and iTunes wasn't the first MP3 computer jukebox program. They were simply the best. I didn't buy an MP3 player until the iPod, and I didn't use an MP3 jukebox before iTunes. Guess what? I don't own a cell phone, but as soon as I can almost afford an iPhone, I'm going...
...High Fidelity” might have worked as a jukebox musical, like “Smokey Joe’s Café” or “Footloose,” in which popular tunes from the movie were sung by actors on stage. It might even have worked with a heavy dash of irony, in the vein of “Urinetown” or “Avenue Q,” self-conscious about the ridiculousness of musical theater. But instead, the minds behind “High Fidelity” attempt to make Hornby?...
...frowning Aborigine approaches the bar, complaining that he's put money in the jukebox but can't hear his song. The older woman nods toward a wall-mounted TV, where the greyhounds are in their traps at Warrnambool. "No music till the dogs are finished," she says. Her young colleague is now circling the bar clutching a large glass jug, coins and notes beginning to fill it. "You have some money for my jar, please?" she says. Presuming she relies on tips, you drop in a couple of bucks...
...Wedding Singer This musical version of the Adam Sandler movie looks like nothing so much as one of Broadway's ubiquitous jukebox musicals ? in which a cheesy, tongue-in-cheek story is draped with old pop hits from Elvis or the Beach Boys. Except that this time someone has written new songs, which kind of defeats the purpose. The show winks at the audience so relentlessly, with references to ?80s icons from Flashdance to Mr. T, that eventually you just tune out. Some good tunes would have helped, but the score (by Matthew Sklar and Chad Beguelin) is forgettable, like...