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The Open Letter-Off of '07

Over the past few weeks, the web has been buzzing with competing open letters about Digital Rights Management, all starting from a post on February 6 by Steve Jobs. We break down the dialog after the jump, in excruciating detail....

It started on February 6, when Steve Jobs posted his Thoughts on Music, an open letter on the Apple web site. Jobs wrote about Apple's FairPlay DRM (Digital Rights Management) system, which is used to prevent copying music sold by the iTunes Store. The point of the letter is that Jobs believes DRM limits consumer choice, and is ultimately ineffective -- he points out that the vast majority of music sold today is on CD's, which contain no DRM. A central point of the letter is that Jobs believes Apple's FairPlay DRM system cannot be opened up to other companies, as it would inevitably be cracked by someone, and music companies have contractually obligated Apple to repair any such problems within a fixed period of time -- something that would become impractical in a landscape where many companies implemented their own versions of FairPlay. Jobs appears to have written the letter in an effort to deflect European legal pressures on iTunes, trying to shift the focus onto music companies, since they're the ones who demand DRM be used to protect music sold online.

Later that day, Jon Johanson (aka "DVD Jon," a cracker who broke DVD encryption some years back) responded with a blog post disputing Jobs' statistics and an open letter to Jobs suggesting that iTunes could implement a system for selling DRM-free music within "2-3 days."

On February 7, Mitch Bainwol of the RIAA (Recording Industry Association of America) appeared to miss the point, encouraging Apple to open its FairPlay technology to competing companies. This despite the fact that Jobs had already explicitly rejected this possibility in the original open letter, along with a fairly lengthy explanation of why it wouldn't work.

Later on February 7, The Economist weighed in, with an unsigned editorial (read: open letter) on the issue. On the whole they agree with Jobs, though the editorial details how Jobs has changed his tune on DRM over the years. Norway's Consumer Council also got in on the action, suggesting that Jobs was simply trying to divert European legal attention to the music companies and away from Apple (their suggestion was that if he believes DRM is a problem, he should simply solve it, rather than calling for consumers to petition the music industry).

On February 9, Warner Music executive Edgar Bronfman suggested that Jobs' proposal was without logic and merit. Bronfman didn't post his own open letter, he just gave a brief statement to BBC News. On the same day, Michael Robertson, founder of MP3.com, posted an open letter, suggesting that Jobs put his money where his mouth is and start selling DRM-free music, as well as opening up the iPod's technology to competitors.

On February 10, MPEG Chairman Leonardo Chiariglione posted an open letter responding to Jobs, pointing out some flaws in the original open letter and suggesting methods by which DRM could be standardized and adopted worldwide.

On February 12, Yahoo Music head Dave Goldberg came out against DRM, essentially agreeing with Jobs (though it's unclear whether Goldberg's comments were originally made in response to Jobs' open letter).

On February 18, Macrovision CEO Fred Amoroso wrote his own open letter, in which he (among other things) offered to take Apple's FairPlay DRM system and incorporate it into the Macrovision stable of products. Again, this appears to miss Jobs' original statement that this was not going to happen. Are these guys even reading each others' open letters? (Read a non-marketing-ese translation of Amoroso's letter.)

The torrent of open letters (and analysis of the open letters) continues -- if anything significant happens, we'll be sure to write an open letter about it.

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Kevork Djansezian, Getty Images
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Pop Culture
"Weird Al" Yankovic Is Getting the Funko Treatment
Kevork Djansezian, Getty Images
Kevork Djansezian, Getty Images

Though the New York Toy Fair—the largest trade show for playthings in the western hemisphere—won't officially kick off until Saturday, February 17, kids and kids-at-heart are already finding much to get excited about as the world's biggest toy companies ready to unleash their newest wares on the world. One item that has gotten us—and fans of fine parody songs everywhere—excited is "Weird Al" Yankovic's induction into the Funko Pop! family. The accordion-loving songwriter behind hits like "Eat It," "White & Nerdy," "Amish Paradise," and "Smells Like Nirvana" shared the news via Twitter, and included what we can only hope is a final rendering of his miniaturized, blockheaded vinyl likeness:

In late December, Funko announced that a Weird Al toy would be coming in 2018 as part of the beloved brand's Pop Rocks series. Though we know he'll be joined by Alice Cooper, Kurt Cobain, Elton John, and the members of Mötley Crüe, there's no word yet on exactly when you’ll be able to get your hands on Pop! Al. But knowing that he's coming is enough … for now.

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New Line Cinema
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11 Fun Facts About The Wedding Singer
New Line Cinema
New Line Cinema

On February 13, 1998, Adam Sandler gave Valentine’s Day sweethearts a retro treat with The Wedding Singer, a 1980s-set rom-com about a heartbroken wedding singer named Robbie Hart (Sandler) who falls in love with a waitress/bride-to-be whose married name will leave her as Julia Gulia (Drew Barrymore).

At this point in Sandler’s career, he was known more for his puerile comedies like Happy Gilmore and Billy Madison, not as a romantic leading man. The Wedding Singer changed all that. After earning its $18 million budget back during its opening weekend alone, The Wedding Singer went on to gross $123 million worldwide—making it Sandler’s highest-grossing movie to date at the time.

Besides being a bona fide box office hit, the film’s two ’80s-heavy soundtracks—which included tunes by The Police, David Bowie, The Psychedelic Furs, New Order, and The Smiths—were also popular. For the film’s 20th anniversary, here are 11 fun facts about The Wedding Singer.

1. THE DIRECTOR’S OWN REAL-LIFE HEARTBREAK ALLOWED HIM TO TAP INTO THE FILM’S EMOTION.

Longtime Sandler friend and collaborator Frank Coraci directed The Wedding Singer, and said that his own experience with having his heart broken was part of what allowed him to tap into the movie’s unique balance of humor and heartfelt romance.

“I remember lying in bed and not being able to move, so it was easy to tap into that pretty quickly,” Coraci told The Hollywood News of his own heartbreak, which happened a couple of years before the movie came along. “I think the distance between those two things was good. It let me look at it differently and allowed it to be funny. I think if had happened before, The Wedding Singer would have been one seriously depressing movie.”

2. THE IDEA TO SET THE FILM IN THE 1980S CAME FROM THE RADIO.

The Wedding Singer was written by Tim Herlihy, a longtime collaborator of Sandler’s who, in addition to writing for Saturday Night Live, wrote the scripts for Billy Madison, Happy Gilmore, and The Waterboy (among other Sandler-starring films). Sandler mentioned to Herlihy that he wanted to do “a film about a wedding singer who gets left at the altar.” For his part, Herlihy let the radio inspire him. “I was listening to the radio show Lost in the ’80s, and I said, ‘I want to do a movie set in the 1980s. So of course, we thought, ‘Why don’t we do a story about a wedding singer in the 1980s?’”

3. SANDLER WANTED TO MAKE A “PRO-LOVE” FILM.

While promoting the movie on Late Night With Conan O’Brien in 1998, Sandler said, “We wanted to make a romantic comedy that was heavy on the laughs. It was nice to do a movie that was pro-marriage and pro-love.” He explained men have a difficult time falling in love. “You got guys who say they don’t want to be in love, but those are usually guys who have been hurt before.”

4. THE MOVIE DOESN’T FEATURE ANY SEX SCENES, AND THERE’S A REASON FOR THAT.

In the same interview, Conan O’Brien asked Sandler why there weren’t any sex scenes in the film, which seemed odd for a rom-com. Sandler was candid with his answer: “The main reason for not having a sex scene is I’m not good at sex,” he said. “I started when I was pretty young and I was always like, you’ll get better. And I got older and it’s still not good.”

5. BARRYMORE APPROACHED SANDLER ABOUT WORKING TOGETHER.

Since the release of The Wedding Singer, Sandler and Drew Barrymore have gone on to star in 50 First Dates (2004) and Blended (2014) together, but their original collaboration was really the actress’s doing. Barrymore told Howard Stern she was interested in working with Sandler because “[I thought] I want to be a modern weird Hepburn, Tracy old Hollywood couple.” Sandler agreed to meet with her. “We looked like the worst blind date you’ve ever seen,” Barrymore recalled, referencing how she had purple hair and wore a leopard coat. Still, as Barrymore told The Huffington Post, she was convinced that she and Sandler were “cinematic soul mates,” and wasn’t afraid to tell him so. Soon after this meeting, the script for The Wedding Singer came along.

6. THE “RAPPING GRANNY” LIVED TO BE 101.

At the age of 84, Ellen Albertini Dow portrayed Robbie’s neighbor Rosie, a.k.a. “The Rapping Granny.” During a wedding scene in the movie, Rosie gets on stage and raps to The Sugar Hill Gang’s “Rapper’s Delight.” However, when the filmmakers asked Dow to perform the rap, she admitted she wasn’t familiar with that style of music.

In a 2008 radio interview, she recounted how Sandler and Coraci approached her with the idea. They told her, “‘We think it might be funny for an older woman to do rap,’” Dow explained. “And I said, ‘What is that?’ I had no idea what rap was. They took me to a soundstage and handed me this rap song. I went in the booth and it was very foreign to me. I said, ‘Can I move a little to it?’ They said, ‘Oh, sure.’ I’m not bragging, but I danced all my life, and I played the piano, so I know music. I started to move to it and I got it right it away. I got it very fast and loved it and had fun with it.” Her rapping success led to her rapping in a Life Savers commercial, and she even considered recording a rap record for children. In 2015, Dow died at the age of 101.

7. IT’S THE FIRST SANDLER FILM TO INCLUDE A FEMALE PERSPECTIVE.

In previous Sandler films, women mainly existed only as love interests. Herlihy, however, changed that with The Wedding Singer. “Drew elevated things for us,” the screenwriter told Esquire. “The scenes with her and Christine [Taylor]—the scenes with her without Adam—[were all great]. You look at the first movies and there’s not a lot without Adam because we did test screening and they said, ‘Get rid of that scene.’ But this time with Drew we were able to do that and have those scenes survive to the movie.”

8. THE CREATORS OF THE WEDDING SINGER BROADWAY MUSICAL KNEW IT WAS “BORN TO SING.”

The success of the film inspired a Broadway musical adaptation that ended up earning five Tony Award nominations and eight Drama Desk Award nods. Matthew Sklar composed the music, and Chad Beguelin wrote the lyrics and co-wrote the book with Herlihy. It premiered in Seattle in January 2006 and then officially opened on Broadway in April 2006.

In the fall of 2007, the musical toured nationally, then eventually landed overseas in London, Abu Dhabi, the Philippines, and Australia. Beguelin said the musical came from him pitching a movie idea to New Line Cinema. “They asked me, ‘What would you do with our catalogue?’ Well, I thought The Wedding Singer was born to sing,” he said. They felt a musical could convey stronger feelings than what was on the screen. “In the movie, you get a close-up of Drew Barrymore looking distraught at her reflection in a wedding dress, but you can’t do that on stage,” Beguelin said. “That’s where you write a song.”

9. BARRYMORE WANTED THE AUDIENCE TO “HOLD THE BOWL OF LOVE.”

In a 1998 interview, Barrymore explained what drew her to the character of Julia: “She has an ease that follows her and that’s the energy that she exudes, and I really, really like that about her. And she’s a happy girl.”

Barrymore further said she wanted people to be happy and for the movie to cause the audience “to hold the bowl of love and have those hearts in their eyes and all of that good mushy stuff we live for."

10. BILLY IDOL STARRED IN THE FILM TO APPEASE HIS SON—AND TEENAGERS.

Billy Idol, whose song “White Wedding” appears on the soundtrack, portrays himself during a climactic scene on a plane. “My son loved Adam Sandler and I thought: ‘I’m going to have to see it anyway, so why not be in it?,’” Idol said. “I gained a number of diehard teenage fans through doing it, who are adults now and are still turning up to my gigs.”

“There’s something about Billy Idol hanging on a plane, knocking back champagne, and getting involved with my love life,” Sandler said of Idol’s cameo. “Everybody thought that’d be fun.”

11. BOY GEORGE WAS A FAN OF BOY GEORGE.

In the film, transgender actress Alexis Arquette played a character named George, who had similarities to the iconic Culture Club frontman Boy George. Wedding Singer George even sings the band’s 1982 hit song “Do You Really Want to Hurt Me” at a wedding in the movie. Arquette passed away on September 11, 2016, and around the same time the real Boy George paid homage to the actress at a concert in Maryland. He dedicated “Do You Really Want to Hurt Me” to Alexis and her family.

“Alexis played me in The Wedding Singer, very hilariously,” he said. “When I went to [see] The Wedding Singer, I didn’t know what was going to happen. When I saw Alexis doing an impersonation of me, I was rolling around on the floor laughing.”

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