THOMAS PODVIN’S FREELANCE WORK
Freelance writer - translator - Editor

This is not a Beatles tribute. But there's no denying that this Shanghai band of four is greatly influenced by Brit-pop.
Without trying to pigeonhole Crystal Butterfly (Shui Jin Die), pop is actually the best definition of their sensual brand of music. But pop with some range, from uplifting ballads ("Your Sky No Rain", "Float Down" in English), to light rock ("Judy's Too") and more sonic-laden tracks (hidden track "Fuzzy"). You'll find it all on this debut album.
So what makes this release especially Shanghaiese? Talent. A lot of bands in the city have similar influences and play in similar styles. What makes the Butterflies stand out is the ability to write catchy melodies that capture the listener on first hearing. There's nothing dark about Magical Mystery Tour. It is a feel-good record especially enjoyable in summer. The band's promised to release a second record called Fantasy Forest soon. Can't wait!

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Grammy Award nominees The Crystal Method toured China last month and stopped in Shanghai for an impressive gig at La Fabrique.
The Las Vegas-based band has been mixing and sampling on the international electronic scene for a decade now. Community Service Volume 2 gathers a selection of break-beat tracks, along with new remixes of songs by The Doors, the Smashing Pumpkins and New Order. Experimental they are, and though less accessible than the Prodigy, the duo, Jordan and Kirkland, are certainly skilled with sequencers and beat boxes.
You probably won't play this American answer to the Chemical Brothers and Aphex Twin at home in your living room, but you'll be requesting them on the club floors.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Some time in the late 90's, Aussie Kylie Minogue discovered that success rhymes with sex. And she's been flashing her pants ever since the release of the single "Spinning Around" in 2000 in the hope that her body will continue to sell music. It seems to work; tunes like "Can't get You Out Of My Head" and "In Your Eyes" received a lot of play in UK and in Australia. A lot of play. Her fit, sensual body appears to be a big marketing asset for admittedly catchy dance-pop melodies ("Slow").
Prior to 2000, in the mid-nineties, she was in her girl-next-door period (on the soap Neighbours) followed by a long dry spell. Indeed, at this time, who would have guessed that a girl dressed in casual attire singing boring dated tunes would ever get this big?
Those who value nostalgia will eke some pleasure from Ultimate Kylie, a two-CD release compiling her best, from "The Locomotion" to "Please Stay". One wonders what she will reveal next to keep the public satisfied.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Think of J-pop and artists like Utada, Amuro or Hamasaki immediately come to mind. This is unfair. God's gift to Japanese pop is Hitomi Yaida. The voice of the 27-years old female singer (and composer, lyric writer, producer and mixer!) is heavenly, far from the high-pitched wobbles of the teen idols who overpopulate the archipelago.
More rock than pop (comparable to Nippon rock singer Shiina Ringo), Yaida (aka Yaiko in the UK) vibrato vocaling is wonderfully accompanied by distorted guitars and a solid base line on "My Sweet Darlin" and "I Am Here Saying Nothing." The musical chemistry is, in a word, perfect.
Singles Collection, released in China by EMI, is a good start to discover what Yaida calls "heart rock" or music that comes with a lot of soul. This is one of the best J-pop records released this year.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Translated document:

Cet article fournit un résumé sur l’utilisation de la technologie Secure Sockets Layer (SSL) dans le cadre de l’implémentation et du déploiement de WSUS. [NDT, Cette phrase est en double dans le document original]

Utilisation de Secure Sockets Layer (SSL)
Les mises à jour sont constituées de deux parties: une partie de méta données qui décrit l’utilité de la mise à jour (mise à jour d’informations, ou mise à jour de méta données), et les fichiers pour installer la mise à jour sur un ordinateur (fichiers de mise à jour). Pendant la synchronisation, les deux parties de la mise à jour sont synchronisées avec le serveur WSUS, mais au travers de ports séparés.

Pour la synchronisation avec les serveurs upstream WSUS, vous pouvez utiliser Secure Sockets Layer (SSL) pour sécuriser la mise à jour de la portion méta données de la synchronisation. WSUS peut utiliser Secure Sockets Layer (SSL) pour : -permettre les ordinateurs clients et les serveurs WSUS downstream d’authentifier un serveur WSUS upstream -encrypter les méta données envoyées sur les ordinateurs clients et les serveurs WSUS downstream.

Si le serveur WSUS reçoit directement des mises à jour de méta données de Microsoft Update, il n’est pas nécessaire d’utiliser Secure Sockets Layer (SSL) car Microsoft sécurise la synchronisation pour vous. Pour plus d’informations sur la façon dont Microsoft sécurise la synchronisation de la mise à jour des méta données entre Microsoft Update et les serveurs WSUS, voir http://www.microsoft.com/Deploying Microsoft Windows Server Update Services http://www.microsoft.com}

Vous ne pouvez pas configurer Secure Sockets Layer (SSL) pour mettre à jour une portion de fichier de la synchronisation. Cependant, Microsoft prend en charge pour vous la sécurisation du processus, atténuant le risque d’envoyer des fichiers mis a jour par un canal non encrypté en signant chaque mise à jour. Quand une mise à jour est téléchargée, la signature digitale est vérifiée. Si la mise à jour a été falsifiée, elle n’est pas installée.

Limitations des déploiements de WSUS SSL

Il y a deux facteurs limitants que les administrateurs qui considèrent l’utilisation des déploiements de WSUS SSL doivent connaître :

Sécuriser votre déploiement WSUS avec Secure Sockets Layer (SSL) augmente la charge du serveur. Vous devriez prévoir une perte de performance d’environ 10 pourcents due au coût additionnel d’encryptage de toutes les méta données envoyées sur le réseau. Si vous utilisez un serveur SQL distant, la connexion entre le serveur WSUS et le serveur gérant la base de données n’est pas sécurisée par Secure Sockets Layer (SSL). Si la connexion de la base de données doit être sécurisée, prenez en compte les recommandations suivantes :

-Mettre la base de données sur le serveur WSUS (la configuration du WSUS par défaut) -Mettre le serveur SQL distant et le serveur WSUS sur un réseau privé -Déployer le IPsec (Internet Protocol Security, protocole de sécurité Internet) sur votre réseau pour sécuriser le trafic du réseau

Configuration du SSL pour le WSUS

Pour installer Secure Sockets Layer (SSL), vous devez installer un certificat sur le serveur WSUS, et ensuite configurer les ordinateurs clients (et les serveurs WSUS downstream le cas échéant) pour qu’ils se fient au certificat du serveur. Les procédures pas-à-pas pour l’installation Secure Sockets Layer (SSL) dépassent les limites de l’aide pour le WSUS. Cependant, plusieurs articles sur le sujet sont disponibles. Pour plus d’information et d’instructions quant à l’installation des certificats et l’installation de votre environnement, voir les pages suivantes sur le site Internet de Microsoft :

Source document:

This topic provides an overview of utilizing SSL technology in the WSUS implementation and deployment. This topic provides an overview of utilizing SSL technology in the WSUS implementation and deployment.

Using Secure Sockets Layer (SSL)

Using Secure Sockets Layer (SSL)

Updates consist of two parts: a metadata part that describes what an update is useful for (update information, or update metadata), and the files to install the update on a computer(update files). During synchronization, both parts of the update are synchronized to the WSUS server, but through separate ports.

For synchronization with upstream WSUS servers, you can use Secure Sockets Layer (SSL) protocol to secure the update metadata portion of the synchronization. WSUS can use SSL to:

Enable client computers and downstream WSUS servers to authenticate an upstream WSUS server. Encrypt metadata passed on to client computers and downstream WSUS servers.
If the WSUS server gets update metadata directly from Microsoft Update, it is not necessary to use SSL because Microsoft secures the synchronization for you. For more information about how Microsoft secures update metadata synchronization between Microsoft Update and WSUS servers, see http://www.microsoft.com/Deploying Microsoft Windows Server Update Services http://www.microsoft.com}

You cannot configure SSL for update file portion of the synchronization. However, Microsoft takes care of securing this process for you, mitigating the risk of sending update files over an unencrypted channel by signing each update. When an update is downloaded, the digital signature is checked. If the update has been tampered with, it is not installed.

Limitations of WSUS SSL Deployments

There are two limiting issues that administrators considering WSUS SSL deployments need to know about:

Securing your WSUS deployment with SSL increases the workload of the server. You should plan for about a 10 percent loss of performance because of the additional cost of encrypting all metadata sent over the wire. If you are using remote SQL, the connection between the WSUS server and the server running the database is not secured with SSL. If the database connection must be secured, consider the following recommendations:

Put the database on the WSUS server (the default WSUS configuration). Put the remote SQL server and the WSUS server on a private network. Deploy IPsec on your network to secure network traffic.

Configuring SSL for WSUS

To set up SSL, you must install a certificate on the WSUS server, and then configure client computers (and downstream WSUS servers, if any) to trust the server certificate. The step-by-step procedures for setting up SSL are beyond the scope of WSUS Help. However, several articles on the subject are available. For more information and instructions for installing certificates and setting up your environment, see the following pages on the Microsoft Web site:

---END---

Anybody already familiar with the story and the characters from the eponymous Japanese comics and video game might wonder if there's any point watching this uninspired HK blockbuster shot in Japan. Who cares? The film's investors, of course. The marketing tsunami preceding the release managed to brainwash moviegoers to go to cinemas in droves.
Uninspired though it is, the film does spark an interest in car racing. Directors Lau and Mak (Infernal Affairs) have framed, edited and photographed some gripping car stunts. The "D" in the title stands for drifting – a racing term where turns are negotiated at full speed while skidding on the rear wheels, a technique that is fortunately fully exploited here.
While the car stunts work, the directors downshift when it comes to characterization and storytelling. The insipid childish-love story, is like an overlong MTV spot, and the over-abundant visual effects (freeze frames and split screens) slow the pace down. The acting sucks too. Main drifter Jay Chou is monolithic in his own vehicle. Next to him, young bourgeois Edison Chen looks like Tom Hanks. And that's no compliment. Sure, kids and schoolgirls left the theater with big satisfied smiles, but this reviewer was itching for the exit.
A sequel has already been announced, Initial D 2: Duel in the Alps!

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

Uber cool Brad Pitt and ultra sexy Angelina Jolie star as professional killers in this action comedy inspired by The War of the Roses and True Lies.
On screen (and off?) the pair are fakes, that is to say they take on aliases to cover their tracks. After being set up, each of the couple discovers he/she has been living with a killer for five or six years; still neither lose his/her cool, make up or hairdo.
On paper, the plot and cast must have sounded like a winning combo. On screen, however, the sum of the parts is little more than a nicely-packaged farce that strains to entertain for 120 minutes.
Fresh and fun; forgettable and silly, the chemistry between Pitt and Jolie is the film's main asset and their rumored romance off screen was nothing if not a brilliant marketing coup.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Guanzhou Chief editor: Christopher Cottrell
August 2005 issue

The horror genre surpasses all others when it comes to sequels. This entry is the third in the cult Dawn of the Dead series, while House of Wax is merely a remake, though it could spark a series of its own.
Romero made Night of the Living Dead back in 1968, the first installment of his Dead trilogy. Ten years later, with Dawn of the Dead, a ground-breaking satire on American consumerism, he strengthened his status of horror master and leader of the living-dead sub-genre.
Surrounded by zombies, four escapees seek safety in a mall. In this empty materialists'haven, they create a microcosm of society confronting issues of survival, race, gender, law and government. The new order doesn't last long. After breaking their own rules, they must battle a gang of plunderers and face the ever-hungry living dead outside.
There aren't any zombies in the House of Wax. Though this slasher/horror film does drip with the influence of three thriller classics: Hitchcock's Psycho in the 60s, Halloween in the late 70s and Friday the 13th in the early 80s. All three, of course, featured a psychopath who graphically kills whomever's in his way. All three also helped push the genre into the mainstream.

We should also mention a fourth and obvious influence, the original House of Wax, starting the king of them all, Vincent Price. Sadly, the current House lacks the master's touch.
Like Price's work, the Dead trilogy, stands the test of time, especially the gory special effects (Tom Savini rules!). And without question, Dawn of the Dead is the entertaining, accessible and prophetic chapter of the lot. Question is, will the upcoming release, Land of the Dead, live up to the past?

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Exploring Chinese legends is a delightful and time-consuming process considering the huge number of myths. Lotus Lantern, a family blockbuster produced by the Shanghai Animation Film Studio, features plenty of satisfying mythological material (folk heroes, gods, a fire lake, a lotus lantern and a dog eating the moon…)
The most-expensive animation feature ever made in China at USD 10 million, the film was four years in the making. It's likely that a good part of the budget went to the many Chinese stars involved in the post-production dubbing (Ning Jing and Jiang Wen) and those who contributed to the soundtrack (Coco Lee, Zhang Xinzhe and Liu Huan).
The movie's universal theme of filial love will appeal to viewers of all generations and origins. Shanshen Mu, a goddess whose only sin was to marry a human, is abducted by her brother, Erlang, the conservative god of heaven. Even with the help of the Earth god, the Monkey King, 7-year-old Xianchen still faces many challenges to rescue his mother.
The DVD version has optional language and subtitles in Chinese, English and Japanese and offers some good bonus material.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Film noir fell out of favor in France for much of the last two decades. However, recent movies such as Crimson Rivers, The Nest, Cash Truck and 36 Quai des Orfevres have proved that audiences are still willing to support the genre.
The latter is probably the best of its kind since Alain Delon and Jean-Paul Belmondo won worldwide acclaim as archetypical noir heroes. Indeed, it is so good that it may very well herald a new wave of French-action thrillers.
After a moderate success with his debut movie Gangster, director Olivier Marchal, a former French cop, has moved up to A-level production, with big stars (Gerard Depardieu and Daniel Auteuil) and a relatively big budget of USD 14.5 million.
As the title indicates (the address of the Paris Criminal Investigations Division), Marchal's film is rooted in reality. The director is a former cop and the plot of 36 Quai Des Orfèvres is based on the experiences of Dominique Loiseau (who co-wrote the script), a former member of the BRI (Brigade de Recherche et d'Intervention, the 'anti-gang' squad) in the mid-eighties.
This film was nominated for eight Césars, the French Oscar equivalent, and except for the story's inability to surprise, until the very end at least, 36 Quai des Orfèvres scores on every front. A gripping tribute to the genre and to the long tradition of French gangster movies that should be revived once and for all.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

If you liked Ocean's 11, you won't necessarily like the sequel. Of course, most sequels fail to equal the original and few surpass it. Ocean's 12 is no exception. Still, fans of the first caper movie, craving more of the same, will have to try hard to be amused. And in their interest, we offer a few tips.
1. Expect no more than two facial expressions from the star, George Clooney (a wink and a smirk), expect Brad Pitt to act the playboy and expect Julia Roberts to impersonate herself.
2. Switch off your brain. Do not try to make sense of the 'plot'. After this mental adjustment, you may relax and enjoy the movie, maybe even as much as the actors enjoyed making it (they enjoyed a paid vacation in various parts of globe).
3. Look out for French actor Vincent Cassel, who delivers an impressive performance as the Brazilian capoeira artist and provides the film's most exciting moment.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Confucius, also known as Zhong Ni, is one of the most famous thinkers of all time. Born approximately 2,500 years ago, he spent most of his life as a student and teacher, a teacher who imparted knowledge to everyone, regardless of their social status or origins. A disciple of Lao Zi, the founder of Taoism and one of China's most influential philosophers, Confucius' words were recorded in a number of classis texts (Spring and Autumn Annals). As well as being a fearless fighter and magnanimous politician, he mastered the 'six skills' comprising ritual, music, archery, driving, reading/writing and arithmetic, and devoted his life to restoring the Rites of Zhou in order to bring political guidance and peace to his homeland.
This graphic novel reveals insights into ancient Chinese society and details the various stages of Confucius life. Who said that comic books only entertain? This work proves that they are a source of profound thought as well.

Legend of the Laughing Buddha and Confucius, Life of the Great Humanist are distributed in China by CNPIEC (86-10-65082324; Irj@cnpiec.com.cn)

(c) that's Shanghai Magazine
Chief editor: Steven Crane
Book courtesy Asiapac Books
August 2005 issue

Westerners often struggle to grasp the complex concepts of Oriental religions and philosophies. Well, struggle no more. Singapore-based publisher Asiapac Books has produced a brilliant series of graphic books that put wisdom within the reach of even the least metaphysical reader. Take the Buddha, for instance, a world renowned figure associated with wisdom, magnanimity and rectitude. Legend of the Laughing Buddha reveals a new aspect of this deity, wherein the constantly smiling reincarnation of Maitreya carries a bulging sack over his shoulders, spreading happiness, abundance and contentment to all those he encounters. Of course, he still retains his pot belly, symbolizing joy, good fortune and generosity. Set in ancient China, this graphic novel is well written and of great help in understanding Buddhist thoughts. Readers of any age, and from any background, will delight in the illustrations and learn from the message so entertainingly presented here.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
Book courtesy Asiapac Books
August 2005 issue

So what's in a name? This band's moniker was borrowed from Haruki Murakami's novel Hardboiled Wonderland and the End of the World. But which version? Various translations of the book gave the band three choices: Cold Fairyland, Cool Fairyland and even Frozen Fairyland. At different times, they have used them all. "The name Cold Fairyland already carries a contradiction," explains singer/composer Lin Di, "and that's the feeling we want to deliver to the audience."
In Shanghai's relatively unsophisticated alternative music scene, Cold Fairyland, stands out. Arguably, the most original ensemble in the city, this quintet cultivates an image of ambiguity. In a recent gig at Creek Art's damp and dusty warehouse, the band offered a blend of guitars, drums, pipa and cello, accompanied by all-but-indecipherable vocals, that was impossible to pigeonhole.
"Typical Shanghai bands make posh fashionable music, but I think we bring a deeper meaning," Lin tells that's.
Formed in 2001, Cold Fairyland has just two unofficial releases to its credit: Flying and The Zoon of Stranger (only available on their website www.miyadudu.com). Composer, lead vocalist, pipa and keyboard player, Lin is the band's creative muse and the only band member that's doesn't have a day job. In addition to her work with Cold Fairyland, she's released two solo albums in Taiwan, Ten Days in Magic Land and Bride of Legendin. Both CDs offer her take on 'world music' and have yet to be released on the Chinese mainland.
On stage the band performs her solo works and their own music, but the studio versions of Lin's solo work bear little relation to the band's live renditions. In concert, the tone is darker, much darker. "We want to express despair rather than hope," says Lin. "When both coexist, hope comes second; it is a comfort from pain."
Cold Fairyland's unique brand of music is miles away from the Britpop often favored by local bands. But Lin is at a loss to describe her style. "It belongs to Chinese-folk music mixed with other elements—it's hard for me to identify. We never follow a pattern," she says.
While many musicians resist labeling, Cold Fairyland is one of the few groups who legitimately cross genres — from one song to the next, their style is never the same. On stage, in just one set, they go from jazz improvisation to world music —stunning the audience with their seamless transformations.
Currently, the band plans to release a collection of tracks from the first two CDs, and is working on a CD for release in the US. Meanwhile Lin is preparing for her third-solo release, a Stone Age throw back, so to speak, employing the percussive sounds of wood and stone. Says Lin, "It will be more experimental and less accessible."
Once these projects are wrapped, the only thing that's certain, is that nothing is certain. "We are considering performing only instrumental tracks in a near future," says Lin.

Cold Fairyland will play on Aug 14 at Ark Live House, 15 North Block Xintiandi, 180 Taicang Lu (6326 8008)

(c) that's Shanghai Magazine
Chief editor: Steven Crane
Photo courtesy Hugo Hu www.huphoto.cdd.cn
August 2005 issue

"Many young, talented actors in Hong-Kong can do three flips and give three kicks in a row," said Kung-fu star Jackie Chan at the 8th Shanghai International Film Festival (SIFF) in June. "I am very impressed, but none of the producers want to bet on them!"
A major player in the film industry over the past four decades, Chan is getting a bit old for back flips but he knows the film business intimately. When Chan talks, people listen. And one of his biggest concerns is that this new generation of Chinese actors and directors lack industry support, without which, he fears, Chinese cinema will find it difficult to compete in both domestic and international markets.
"Nurturing new generations of moviemakers and actors should become a priority of the industry," stresses Chan. He hopes to set an example with his company JCE Movies, and has produced several films such as House of Fury and Rice Rhapsody with young actors and emerging directors. Despite his efforts, he remains worried about China's film industry: "I really don't know what will be the next step," says Chan.
One thing is clear; the future of the industry is likely to involve compromise on both sides, creative and commercial. True, the Chinese mainland is pulling ahead of Hong Kong in film production; the former released 212 films compared to 63 in Hong-Kong. But the challenges are the same. New filmmakers are under tremendous pressure from investors, stars and the media to play it safe. Few investors are willing to back novice directors, and even when they do they frequently insist on controlling the shape of the film. What's more, the field has become extremely competitive, just as investors have cooled towards the industry. As a result, young filmmakers have become more and more timid — one mistake and they're out of the biz.
Take award-winning Hong Kong filmmaker and actress Barbara Wong (Wong Chunchun), for example. Wong spent nine long months building a network of connections to finance her first project — A Carburetor for Suzy – some of whom wanted to make significant changes to her script. Says Wong, "You need to persevere and to talk to many producers, but shouldn't be influenced by others' opinions." Unlike her early non-mainstream work featuring relatively unknown actors, Wong's latest movie Six Strong Guys, starring Ekin Cheng and Chapman To, was a modest success at the box office.
But hiring 'names' is something of a doubled-edged sword. Many investors are more interested in the cast, than the script. For Chinese mainland director Lu Chuan, filmmaking is a power struggle. The first battle is to convince investors the project is commercially sound; the second is to maintain authority with often pompous and petulant stars. "I don't feel comfortable with stars," says Lu, recalling his directorial debut, Missing Gun, starring Jiang Wen. "I will never use a star that ruins the direction of my movies."
The Xinjiang-born director's second film, Kekexili, with a cast of unknown mainland actors, won many awards for its poignant story and minimalist cinematography. Indeed, awards are near essential for young directors. "The media are so picky," says Lu. "If you don't get an award you're a nobody." But making films to please festival judges, is no guarantee of commercial success.
Lu's latest project, Bian Jiang, will be shot in Shanghai in Shanghainese, and concerns a local teacher who travels to Xingjiang to teach English. To increase the film's commercial potential, Lu agreed to the producer's request to cast big names – on one condition, that he maintains full control of the process.

Special thanks to the organizers of the 8th Shanghai International Film Festival.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue