Tuesday, August 26, 2025
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Athleta ex machina

By Joel TichinoffSports Editor

Jerry Seinfeld and George Costanza sit across from each other at the local coffee shop discussing sailing as an Olympic sport. George says it’s too easy to cheat: “You stick a small motor under the hull. They’d never check!” To which Jerry replies: “Don’t you think they’d be suspicious when boat one wins by 16 hours, with no wind?”
While the advantages conferred by technological improvements in sports equipment haven’t quite reached that point, the recent banning of the Speedo LZR swimsuit, which not only reduced drag but also added buoyancy, from international and Olympic competition suggests we have reached the threshold of what technological enhancements we are willing to accept before human performance takes a back seat to technological performance.
The LZR suit was so effective that some swimmers wore two at a time. The LZR was made available in early 2008, a year that saw 93 swimming world records broken by swimmers sporting the body-compressing, skin-vibration-reducing, ultrasonically-welded suits. If it sounds like space age technology, that would be because many components of the LZR were developed by NASA. Thirty-three of 36 total swimming medals went to LZR-wearing swimmers at the Beijing Olympics.
Within a year of the LZR’s release, FINA, the international governing body of swimming, had announced new regulations meant to address the outcry of “technological doping” from across the swimming world. Not surprisingly, the NASA-designed LZR was the first to go. The question now is whether or not those world records set in 2008 will stand. After all, they belong to the LZR as much as they do to the swimmers in the suits.
The blurring lines between technological performance and athletic performance are not limited to swimming; ice hockey for example has seen the rise of the carbon-fibre hockey stick, and now heated skate-blades seem a marketing campaign away from becoming a reality. But aside from the moral questions of technological enhancement of sports there are growing concerns about the dangers of uncontrolled sports tech. As companies vie to produce the latest must-have innovation in athletic gear, their products have begun to test the limits of the human body in a different way.
The skiing world in particular has witnessed an epidemic of horrible injuries attributed to new ski designs, which, while improving performance in a sport measured by the micro-second, appear to be generating more force than human knees and ACLs can handle. Many also place the blame on the water-injected race courses meant to reduce friction by artificially icing the course. The highly-touted Canadian ski team lost five of its most promising athletes to leg injuries between November and December 2009. The ski-equipment industry’s response? New knee-braces and boots meant to mediate the new stresses put on skiers’ knees and legs.
However much it will rankle the purists, sports equipment manufacturers will always be tweaking their products to squeeze every drop of increased performance out of athletes. However with FINA’s ban on the LZR, a horizon setting limits to the advantages of performance-enhancing technology, has come into view. The better regulated the technology, the better for sports as a challenge to human performance. Perhaps the most disturbing ramification of the interplay between technology and sport is the problem of access to performance-enhancing technology. Had Michael Phelps come out of a less affluent nation’s swimming program that did not provide him with an endless supply of expensive, buoyant swimsuits, could he have competed at the same level he did? If the regulation of sports technology fails to prevent technology from outstripping human performance in determining athletic success, there must be an effort made to keep the playing field level ensuring everyone can compete in sports, not just those who can afford to swim in spacesuits. If we’re going to put motors on our sailboats, let’s all do it; one would hate to see those sailors using only the wind, left behind.

30 Seconds to Mars

By Nick LaugherStaff Contributor

Grade: D

Between the auto-tuned punk screams, the stock photo of a menacing tiger on the album cover, and the hawk screeches littering the songs, it’s hard to pick just one aspect of the newest 30 Seconds to Mars album, This is War, to ridicule.
The third full-length from Jared Leto (Claire Danes’ pseudo-badass punk crush from My So Called Life) is supposedly a concept album and rock opera. The only thing unifying the 12 songs on this album is a stunning essence of cheesy, generic angst.
Beginning with the opening track “Escape”, and prevailing throughout the album, Leto screams six or seven key lines of tired, cliché sentiment about an ambiguous “war” that is not only approaching and currently being fought but that apparently has already been won: “I do believe in the light / Raise your hands into the sky / The fight is done / The war is won.”
Musically, the album is a cross between My Chemical Romance, post-apocalyptic Nickelback, and flamboyant ‘80s synth rock with a side serving of chanting crowds, military drums and Kanye West. Yes, Kanye West, who mumbles some almost inaudible vocals and lays down a cookie-cutter beat for the track “Hurricane” in such a half-assed way it feels like he’s ashamed.
With This is War, Leto and his minions transcend the world of benign alt-emo and adolescent TV drama to martyr themselves as the thunderous, auto-tuned rally cry for the 14 year old troops.

Vampire Weekend – Contra

By Matthew RitchieAssistant Arts Editor

Grade: B

Vampire Weekend is a technological marvel in the music industry. Creating a sound that is based in Ska, Paul Simon’s Afro Pop and the guitars of Tinariwen, Vampire Weekend are a band that garnered attention in the blogosphere at break neck speed. Employing the use of music websites Hype Machine and Stereogum, the band rose from a little known pop band made up of Columbia grads to tour with The Shins.
Following the release of their self-titled album in 2008, the most hyped band of the decade saw their songs become the backing soundtracks to films, television and most collegiate dorm rooms.
Vampire Weekend have returned this week with Contra, an album that derives its name from the term given to rebels opposing Nicaragua’s FSLN as well as the popular Nintendo game. The majority of Vampire Weekend’s listeners may be unaware of the previously mentioned political movement. Because of this, the album sounds more like the video game baring the same name. Much like Contra 3: The Alien Wars, this album is a bombardment of a variety of stimuli that only intensifies as it progresses.
The album begins with lead-off single “Horchata”. In pure Ezra Koeing fashion, the wordplay resembles British wordsmith Morrissey’s lyrical content. It’s impossible to enjoy this song without examining a dictionary between breaks. What the hell is “Aranciata” anyway?
Surprisingly, the first track on Contra is the most restrained as well. Gone are the days of baroque gems that resemble the classical stiffness of a La Coste Polo’s collar.
“California English” is a quirky R&B jam that employs the use of auto-tune vocals to great success. In a world of T-Pain albums and T-Pain apps, it comes as a surprise that no other pop band has used the popular Pro Tools device in their songs. Auto-tune is a device used primarily to enhance a bad singer’s ability to hit notes correctly, but Koening sings perfectly already. Due to this, the track doesn’t sound like a club jam. Instead Vampire Weekend creates a quirky layer over top of an already energetic composition.
“Cousins” may be the highlight of the record. With an ever present bass drum pounding away at four on the floor, bassist Christopher Thomson lays down a tasty cyclical groove while Koeing and multi-instrumentalist/arranger Rostam Batmanglij have a surf guitar duel. If there was ever a Vampire Weekend song most likely to end up on the next Guitar Hero, “Cousins’” shredding throw-down may be the one.
The album has more surprises in store. “Giving up the Gun” is the most radio-friendly song by the band yet. Koening’s affection for New York urban radio station Hot 97 materializes in this track via hip hop inflected drums, grimy synthesizers, and bells that follow the vocal melody. The bass pounds in 16th-note carnage, akin to Constantines “Trans Canada”, creating a complex sound unlike one previously made by the band.
Besides these four stand-out tracks, the rest of the album may get lost. Upon further listens it is sure to delight. Pick up Contra if you have affection for boat shoes and The Specials.

Dallery shows private collection

By Hannah GriffinStaff Contributor

The Dalhousie Art Gallery’s current exhibition Lord Dalhousie: Patron and Collector showcases for the first time the former Lieutenant Governor of Nova Scotia’s private collection. The ninth Earl of Dalhousie, also known as George Ramsay, wanted to convey the unique culture of Canada by commissioning various artists to produce depictions of the landscape, wilderness and people he saw during his time in Canada from 1816 to 1828. While the exhibit includes many different artists, a large portion of the works is by John Elliot Woolford, Ramsay’s primary artist for Nova Scotia subject matter.

The flashiest piece of work in the collection introduces the exhibit: a portrait of Ramsay himself by Sir John Watson. The painting sits in a detailed gold-painted frame, and shows a formally dressed Ramsay holding a scroll and looking very proud. Following this portrait are other works showing the life of Ramsay, including two less striking portraits done on watercolour over graphite.
This exhibit is especially appealing because of its exclusivity and diversity. Although many of the works have been shown at various galleries around the country, some have never been shown to the public at all. This is also the first time that the entire collection has been shown as a whole, an endeavor that took curator René Villeneuve six years to accomplish. The benefit of this is that Ramsay’s vision in building his collection to include eight points of focus that he saw as integral to Canadian identity is apparent. These include works representing Ramsay’s life, small villages in towns, impressive buildings found in Nova Scotia and Quebec, and depictions of aboriginal culture. The exhibit is effectively organized into these eight groups, giving a focused flow to the show.
This diversity in representations of Canada shows a complex picture of Canada at the time of Ramsay’s stay. The inclusion of aboriginal culture in this exhibit is impressive. It is significant because it’s presented in a number of ways and does not rely on cliché representations. Most interesting of these is John Crawford Young’s “Indian and French Canadian Market Place”, an almost cartoonish watercolour showing an aboriginal in traditional dress sitting beside a Quebecois man in the middle of a crowded marketplace. The contrast between the two cultures is accented in the detailed attention to dress.
Diversity is not limited to subject matter. The exhibit’s artistic mediums are varied as well, including sketches, watercolours, paintings and prints. Some of the works are extremely small – especially the prints – while many of the works in the landscape section are quite large. Interspersed throughout the exhibit are several display cases showing artifacts from Ramsay’s life and artistic interests. These include a collection of eight serving pieces from 1820 with Ramsay’s coat of arms, a sword presented to Ramsay by the city of Bordeaux in 1814, and a logbook documenting roads from Truro to Halifax with sketches by Woolward. Adding another layer to the exhibit is the inclusion of many quotes from Ramsay’s journals, which line the walls of the gallery. One of these expresses his wish to have Canada represented in these works so that when he returned to Scotland he could “refer to (his) sketches for the beauties of the country.”
There are many different works showing beautiful landscapes in this exhibit, and it is clear that Ramsay had a major fascination with waterfalls. There are numerous watercolours of enormous Canadian waterfalls, and these paintings are among the most colourful and large in the collection. Charles Ramus Forest’s “The Saint Anne Falls” shows the misty Quebec waterfall rushing into a deep crevice framed by vibrant fall trees.
“Lord Dalhousie: Patron and Collector” is a rare chance to see the entire private collection of a man who wanted the Canadian identity to be represented as diverse and complex. The variety of subjects and types of work in this exhibit make it a worthwhile visit.

Doing Daft Punk’s Homework

By Delia MacphersonStaff Contributor

Grade: B+

On Saturday, Jan. 16 at the Seahorse Tavern, Scientists of Sound performed Daft Punk’s debut album Homework: one of the most innovative and foolproof electronic albums of our time. And they did a bang up job.
Besides the usual hang-ups of any good show worth seeing: sobering 30-minute wait in line, over priced alcohol, hard-nosed bouncers and a packed dance floor, for the most part the night went on without fault.
Scientists of Sound have clearly put hundreds of hours into perfecting the album, studying it and mastering ever little detail that makes Daft Punk’s work undeniably good.
The accuracy of each song was staggering. It was truly nothing other than a privilege to watch the music being performed live.
The boys from Scientists of Sound are Aaron Collier and Craig Mercer, who both play a variety of instruments. Grand Theft Bus drummer Bob Deveau and Ruby Jean and the Thoughtful Bees producer Colin Crowell joined them.
The show started late: after midnight. The thousands of dollars of equipment found on stage was entertainment in itself. Hundreds of cables and chords covered the stage.
As the show was about to start, three figures clad in lab coats and scary animal masks took their positions on stage. The crowd went wild. Scientists of Sound kicked the night off with “Daftendirekt”, the first track on the album.
Musically, creatively and artistically speaking, the show was one of the best I’ve seen in the past few months. After speaking to a dozen random people at the show, all I heard were good things.
But there was something a little strange about the evening: the shocking amount of people who were completely and totally fucked out of their brains on ecstasy.
The common side effects according to Wikipedia are: mental and physical euphoria, mild psychedelia (enhanced colours and sounds), increased urge to communicate with others, enhanced sensation, reduced insecurity, defensiveness, and fear of emotional injury.
There are also side effects overlooked by Wikipedia: every 20 seconds or so feeling the need to yell, “I’m on ecstasy!”
People were falling over, they were crying, they were puking. It was chaos. Scattered groups of people drank casually and enjoyed the music, but for the most part the crowd didn’t seem to be appreciating the talent of the artists. Great show, tough crowd.

Youth in Revolt

By Rebecca SpenceStaff Contributor

Grade: B

Thank goodness for Michael Cera. If it weren’t for this cute and cuddly Canuck, Youth in Revolt would be a complete and utter waste of 90 minutes of film.
Youth in Revolt is an adaptation of a series of novels by C.D. Payne, which is structured by a number of journal entries and letters from the perspective of 16-year-old protagonist Nick Twisp (Cera).
Nick is an awkward virgin who feels alienated and isolated from both his family and his own generation. On a summer vacation he falls madly in love with the lovely and wickedly interesting Sheeni Saunders (Portia Doubleday in her debut role). The rest of the film follows the insane lengths that Nick will go to in order to get with Sheeni. Nick’s creation of an alter ego known as Francois Dillinger (Michael Cera wearing a pencil thin moustache) who encourages Nick to rise up against authority in order to get what he wants. Francois/Nick’s acts of rebellion include everything from petty insults to sabotage and even arson.
Nick’s antagonizing authority figures include much of the film’s impressive supporting cast: Nick’s mother (Jean Smart), his mother’s boyfriends (Zach Galifianakis, Ray Liotta), his father (Steve Buscemi), and his neighbour, Mr. Ferguson (Fred Willard). The actors all do their best with the material – but there’s only so much that they can do with the less than stellar script. Doubleday’s smooth and seemingly effortless acting style particularly stands out throughout the film.
The humour of the film is extremely dry, and at times dark and a tad quirky – almost a prerequisite for any movie with Michael Cera. Ultimately much of the dialogue is either hit or miss. For example, a scene in which several important characters eat some magic mushrooms (Knocked Up demonstrated how hilarious of a plot device mushrooms can be) is uncomfortable, pointless and generally disappointing. On the other hand, the conflict that repeatedly arises between timid Nick and the mischievous Francois is superb.
Overall the film’s chain of events is silly and implausible. Although this is likely connected to the idea of a teenager’s imagination running wild, it is sometimes difficult to fully get on board with the direction of the story.
Most movies are somewhat subjective. Youth in Revolt is a film that is especially subjective. A multitude of factors must be taken into account in order to predict whether you will like this film: age, gender, interests, values, humour, style and mood. An easier way to decide whether to see this film consists of a simple yes-or-no question: Do you enjoy Michael Cera?
If you don’t, shy away from this film.

Monotonix at the Paragon

By Cheryl Hann, Staff Contributor

Grade: A

As Monotonix tuned their guitar (singular), the mounting energy on the floor of the Paragon was palpable and palatable. It tasted like salt and wet armpits. Within 30 seconds after the show started, I was covered in beer. Within 40, I was on my knees praying that the mosh-pit gods would be merciful. Less than a second later, I was back on my feet, helped up by a burly man with a flannel shirt, and a killer mustache. For the next hour, I found myself caught in the undertow of a violent sea of people, who had all made a pact, written in sweat and signed in elbows, to never stop thrashing. Some people watched the show from the Paragon’s second bar, away from the otherwise inescapable writhing mass. Those people actually got to enjoy a band, the rest of us were just trying to stay alive, or trying to kill anyone who was smaller or weaker than ourselves.
There was a lot of hype surrounding Monotonix, a three-man “garage-rock” outfit from Tel Aviv, whose last Halifax show ended with the entire band hitting the streets, audience in tow, climbing a traffic light, telling everyone to shut up, and then crowd surfing while the police stood watching, mouths agape.
This show wasn’t quite as crazy, but the band did continually migrate, first from the stage to the top of the bar, and then into the eye of the mosh-pit hurricane, where, surely, I thought, the band would be devoured. They weren’t. Those a 40-something Jewish dudes from Israel held their own, working the crowd into a frenzy, then climbing the walls (literally) to avoid the crowd’s punching, thrusting wrath.
Monotonix’s music is simple: guitar driven, eight-beat anthems, drums optional, but heavily desired, screaming vocals, barely audible, with the occasional solo from the singer’s anus. Yes. The singer put the microphone into his ass, and then passed it around to unsuspecting concert-goers who wanted nothing more than a chance to show off their pipes. It was gross. The show ended without incident, no one bled, and the police weren’t called in. Though the guys from Source Security never abandoned their “this is the worst” expressions. By 3:15 a.m. I was in bed, my ears ringing, my body aching and my smile singing me to sleep.

Machines at Play works

By Nick LaugherStaff Contributor

Headphones dangle daintily from the ceiling. Chisels and files delicately scrape across wire while a shimmering piano hauntingly rambles a jarring jumble of melodies: this is the world of Jean-Pierre Gauthier. Gauthier’s exhibit at the Art Gallery of Nova Scotia, entitled “Machines at Play”, is one of the most conceptually stunning and ground-breaking that the gallery has seen in decades.
A Sobey Art Award winner from Montreal, Gauthier has exhibited work heavily and extensively throughout North America and Europe. He is adept at the construction and engineering of complex machinery and is a talented musician – skills that enhance his prodigious art making. Many of Gauthier’s pieces depend on found objects that are heavily manipulated and combined in radical ways to produce sounds, and events that are unpredictable but exude a disturbing sense of intention.
Machines at Play is concerned with engaging the public with the pure essence of sound. Kinetic motion, the fluidity and absurd randomness of noise and its convoluted synergy with time are all buried deep within Gauthier’s vision. Spanning the most influential 10 years of his artistic voyage, the exhibition is a survey of the most prolific and inspiring works of Gauthier’s career.
The over-arching statement of the show is how essential motion and interaction are in the sonic world and thus how immensely chaotic and unpredictable the art of sound truly is. Most of the exhibits hover around the principle of kinetic interaction, expressing the necessity of motion and energy in the world of music.
“Marqueurs d’Incertitude” (Uncertainty Markers) are among the most revolutionary and interesting pieces in the exhibit. They consist of a wire-frame entity on a wall, attached to motors and gripping charcoal sticks in its tiny wire hands. The sound and range of motion of the visitors shuffling around and gawking at the piece is interpreted by the wire entity and reiterated in awkward, jerky movements on the wall. Relaying movements from the gracefully intrigued observer to the stiff, nervous nature of first-time gallery patron, it sketches eerily apt triangle effigies.
The piece “Battements et Papillons” (Beats and Butterflies), however, is the true embodiment of Gauthier. Attached to an electrical box of micro-controllers that is stimulated by movement is a beautiful 19th-century piano, found by the artist and redone in cracked and frayed metallic foil. Gauthier’s inspiration for the aesthetic of this piece stems from his fascination with the random and chaotic patterns of sidewalk cracks. The sensors attached to the piano interpret the direction and aggression of the observer’s movement, which the piano then communicates.
The musical interpretation of the observer’s movements creates a progression of “controlled randomness” according to Gauthier. The resulting cascade of sound is surprisingly melodic. As an onlooker it is a frighteningly poignant representation of thoughts and feelings. It seems much too natural and descriptive to be random. Your heartstrings are tugged and plucked either with or by the piano. It’s enough to make even the most cynical art-goer stand back in awe and inspiration.
Perhaps the most bizarre and surreal piece of the exhibit, “Le Cagibi” (based on his piece in 2000 entitled “The Big Cleanup”) is a painstakingly crafted, intricately detailed replica of a janitor’s closet. On first glance, the piece seems ludicrously out of place in the realm of Gauthier’s work. A grimy sink, rusty lockers and grungy paper towel litter the room. As the minutes tick away inside the room, you slowly realize how meticulously planned and designed it is. Motors tug just hard enough on metal doors to craft a delicate squeaking, the sink slowly gurgles pops as bubbles rise. There are calendars and postcards and Stephen Hawking novels littering the walls and lockers.
Gauthier has, down to the last detail, produced a stunningly accurate soundscape of the mundane. The more time you spend scanning the walls and imbibing the sounds of scraping wood and creaking metal, the deeper you are lost in the trance of the room. It truly feels as if you have stepped out of the gallery and into a closet tucked away in the back of a schoolhouse.
While Gauthier’s exhibits differ radically, they all possess the same central essence: the dissection and investigation of our relationship with sound. Gauthier is a modern poet unconcerned with the fleeting notions of words. He takes our preconceived notions of sound as a static waveform and he begins to deconstruct and manipulate it in ways that render us speechless. This exhibit investigates our synergistic relationship with sound and perception not only by integrating onlookers into the exhibit but basing the entirety of the exhibit around them. From the janitor’s closet to motorized horns, Gauthier allows us to crawl inside the belly of the beast and experience sound in stark, alien ways that truly illuminate his talent as a conceptual and technical mastermind. Gauthier is fully in his element.

Victory lap not just for slackers

By Alex BruvelsStaff Contributor

The fifth-year victory lap is often dismissed as a slacker’s approach to an undergraduate degree. It conjures images of an unmotivated lollygagger who gives way to the pitfalls of partying or is content to drift aimlessly knowing they he or she will inevitably earn a degree regardless of the timeline.
The reality is there are a variety of reasons that students take more than the projected four years to complete a bachelor’s degree.
Students often transfer from other schools mid-degree, change programs or don’t declare a specific major until midway through their degree. A study of U.S. colleges found that the average undergraduate student now changes majors at least twice during the duration of their degree, most often forcing students into staying on for another year.
Instead of scrambling to make up for lost time by overloading summer courses, killing your well-earned summers with summer courses, accepting the five-year plan may be well suited to your situation.
Many young people wear multiple caps, not only as students, but also as workers, athletes, volunteers and family members. These other commitments often distract valuable time from studies, and instead of resenting and cutting back on these activities, we make room for them.
Graduate schools and potential employers increasingly seek well-rounded applicants. Not to say that a 4.0 GPA won’t get you into a program of your choosing, but for those of you who aren’t at that level it’s what you do with your time outside of school that will dictate the likelihood of gainful employment or acceptance to future scholastic endeavours.
Sports, volunteer work, hobbies and family time keep you mentally stable. Putting all your eggs in one basket with school is enough to make any person go insane suffering from the depravity of life’s luxuries. Find a healthy balance, even if it results in you taking an extra school year to do so.
If you’re in a program where the workload is extremely intense and you’re a perfectionist with high academic ambitions, consider taking only four courses a semester to achieve your aspirations.
If your course load is riddled with bird courses such as the History of Rock and Roll or Introduction to Playing Guitar you may not need to take one less course to obtain high grades, but if you’re slotting in biochemistry or finance for example, give yourself adequate time to do the work you are capable of.
It’s common knowledge that come midterm and finals time, excuses such as “Oh, but I have so much work in my other courses,” tend not to fly with professors.
I may sound like a broken record harping on the current state of the economy, but the post-graduate job market is currently in the shitter. Even if the economy is supposedly recovering, it still isn’t a cornucopia of employment opportunities.
If you aren’t graduating with a degree in engineering or accounting or are hooked up with a job via parents or friends of the family, why not wait for better weather in the job market in a safe, and familiar atmosphere?
The aptly dubbed “real world” can be a scary place. After a few years in a semi-stable environment, or at the very least one of familiarity, you’ve carved out a life for yourself; an identity, social niche.
This will change at least to some extent post-grad. If you’re trying to “figure out what you want to do with your life” people usually recommend travelling as an opportunity to do so. Alternatively, why not spend another year in a place surrounded by friends, and familiarity, cultivating your plan of attack on the real world from the safety of your academic bell tower high atop the clouds of la la land.

Alex Bruvels is a fifth-year Dalhousie student.

Hungry for Apple

By Leyland CeccoOpinions Contributor

A couple of weeks ago at the Consumer Electronics Show (CES) in Las Vegas, the most innovative, expensive and useless devices were unveiled for tech-eager buyers. While 3-D televisions made headlines, the idea of the tablet computer was at the centre of everyone’s minds. Lenovo and Hewlett Packard released touch screen ‘slates’ to usher in a new era of personal computing.
But as many blogs and newspapers noticed, the most popular and talked about product was one that doesn’t actually exist. The CES was littered with reports about the mysterious Apple Tablet, a product whose existence is of debatable veracity. The media, fulfilling their roles as advertising proxies, were back at work predicting what the tablet might look like. Fed by analysts from Piper Jaffray, Oppenheimer and the Yankee Group, media outlets played their dutiful roles as rumour reporters.
It will have a seven-inch screen. No wait – 10.1 inches! It’s for e-books, of course! Of course not – movies and television! It will cost $500. Ha! $1000. $750!
Here, a problem arises. It’s understandable that the public will consume gossip about a product that these tech-reporters predict will change the way consumers will use computers and entertainment devices.
But that’s Apple’s job. It’s the company’s obligation to push its product to consumers – to hawk its wares to a base of students with disposable incomes. However, thanks to a brilliant marketing strategy that costs nothing, Apple remains tight-lipped on the actual existence of the product.
Apple has a long history of being clandestine in their product development. It adds an air of mystique to a company that changed the way we consume music, how we watch movies and how cell phones are used. Apple didn’t confirm the existence of the iPhone until they announced it at a press conference. David Yoffie, of the Harvard Business School, estimated that Apple received more than US$400 million in free advertising from the release of the iPhone. It came from countless praise pieces in reputable newspapers (such as the New York Times and the Wall Street Journal), as well as in online publications (such as Gizmodo and Wired).
Advertising is a key part of any business, and large companies will shell out millions of dollars for omnipresent advertising. It seems that Apple not only realizes this, but also has decided that paying less than they should works better. BNET.com published a report that showed Apple’s 2008 advertising budget as US$467 million. So in 2008, Apple paid almost half a billion dollars for ad space, and received the equivalent of more than US$867 million dollars. Sounds like a pretty good deal.
The most unfortunate part of this great deal is that Apple uses the media, a media that purports to be bias and interest free, as a trumpet of product praise. By forcing publications to worry that they might be missing out on a vital story if they don’t cover a rumoured device, Apple subtly coerces media behemoths to wage a rumour war, each seeking to out report the other about a nonexistent tablet. While these battles are fought, while tales are spun, Apple sits on the sidelines and watches with a widening grin as interest in its fabled product becomes rampant.
Newspapers would be heavily criticized if they published rumours and hearsay; they would be discredited as tabloid publications if their sources were an insider who has a friend who knows this guy who used to work at Apple. Until this point, however, the New York Times, the Washington Post, the Globe and Mail and (sadly) many more news giants have been giving free advertising to a product that you can’t buy, that hasn’t been announced, and that might possiblybe only in the minds of desperate consumers.
So stop it. Get back to covering real news: Tiger Woods.