Word: retro
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This is the sort of atmosphere in which a retro enthusiast like Stern might seem to thrive. But it's not easy to uphold the pinball tradition in a video-game world. A decade ago, a thriving pinball company could ship 5,000 to 10,000 machines a year; this year, Stern Pinball is shipping "significantly less." Still, says Stern, "it's been a growing year. We're very happy with it. There's room for one company." His biggest hit this year was a new machine called Roller Coaster Tycoon, though the fact that it is based...
...he’s not happy about it. Returning to safer territory, he speaks about the band’s association with the ’80s revival of recent months. “I’m fine with that. We’re not a very retro band. I don’t think we really sound like ’80s music. I think the thing is that rock that’s been on the radio for the last decade or so has been pretty unmelodic and a lot of it pretty un-fun. I think...
...Newly retro in their appearances, Jacobs and Silverman proceeded to the Spring Fling set, where the assistant director paired up men and women, giving each couple a precise location and activity to perform. Silverman’s task—offering to pour his date a glass of punch—was relatively simple, while Jacobs’ required him to smoke several herbal cigarettes from the prop department...
...tunes, in the High Generic mode - simple, singable, reverberative, just like Brooks' songs for "The Producers." And toward the end of the show he seems to realize he's run out of early-60s musical signatures to filch from. So in the last two songs he steals from 70s retro-rock. "Cooties" is nothing but Steve Martin's "King Tut." The finale, which brings the entire female company together to sing "You Can't Stop the Beat," begins as yet another Spector classic, "River Deep Mountain High," the raids pretty much the entire oeuvre of Jim Steinman, of Meat Loaf...
...retro-rock productions are so crass. A quieter new musical hit in London is an engaging little show called Taboo, which recaps the rise and drug-addled fall of Boy George, the androgynous former lead singer of the band Culture Club. The surprise is that, aside from three old favorites (with Karma Chameleon as the obligatory curtain-call rouser), the show has a new score, written by (former Boy) George O'Dowd himself. Helped by Christopher Renshaw's cabaret-style production and a dead-on performance as George by Euan Morton, O'Dowd's supple melodies and touching but tough...