I redrew an old comic, and Topatoco made it into a fancy print!
via Matthew Koch
via Matthew Connor
According to Timbaland, ’9th Inning’ hitmaker Missy Elliott’s new single, which is produced by one Timothy Z Mosley, is a “game-changer”.
“It’s coming,” he confirmed to Rolling Stone when asked about the single’s whereabouts. ”It’s on her. She got the first single, it’s just a matter of when she wants to do it. We got the hollow-tip bullet in the gun. We have the game-changer right there.”
Asked to describe it in more detail, he added: ”It’s something you ain’t never heard Missy do. It sounds today, but the future.”
Banjo and a donk then.
'Facebook is the safe baby internet, with our real friends and family sending us real messages. OKC is more internet than the internet, with creeps and jerks and catfishers with phony avatars. So Facebook messing with us feels like a bigger betrayal.'
'Facebook feels "mandatory" in a way that OKCupid doesn't. It's a bigger company with a bigger reach that plays a bigger part in more people's lives. As Sam Biddle wrote on Twitter, "Facebook is almost a utility at this point. It's like ConEd fucking with us." '
|popular shared this story from kottke.org.|
Hi, everybody! Tim Carmody here, guest-hosting for Jason this week.
OK Cupid's Christian Rudder has responded to the outcry over Facebook's experiments with user emotions by... publishinga list of experiments that the dating site has run on its users, along with their results.
And it's not little stuff either! To test its matching algorithms, OKC has selectively hidden users' profile images, their profile text, and even told pairs of users they were a good match when the algo said they weren't, and vice versa.
In short, Facebook may have hid stuff from you, but OK Cupid might have actually lied to you.
But... nobody's really upset about this. Or if they are, they're mostly just upset (or dryly observing, it's hard to tell) that other people aren't upset.
Why? I have some theories:
I don't agree with all of these explanations, and all of them feel a little thin. But maybe for most of us, those little scraps of difference are enough.
Update: Here's a tenth reason that I thought of and then forgot until people brought up variations of it on Twitter: Facebook feels "mandatory" in a way that OKCupid doesn't. It's a bigger company with a bigger reach that plays a bigger part in more people's lives. As Sam Biddle wrote on Twitter, "Facebook is almost a utility at this point. It's like ConEd fucking with us."Tags: FacebookOKCupid
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'Worth noting?: the best time on the course before Kacy ran it? It was by Gamespot’s Anna Prosser. But yeah, women make terrible assassins. Boo us!'
Time challenges will forever be the worst part of any Assassin’s Creed game—unless we were able to move as fast as American Ninja Warrior Kacy Catanzaro does in this new real-time SDCC footage from Gamespot, of course. Maybe that’s why Unity didn’t want to include playable female assassins in AC: Unity; they’re too hard to animate because they’re so much better at running around than the male characters are and the game would be over too quickly.
Worth noting?: the best time on the course before Kacy ran it? It was by Gamespot’s Anna Prosser. But yeah, women make terrible assassins. Boo us!
Previously in Mighty Kacy
I hope this means Capaldi is taking over as showrunner next season. or in 2019 or whenever moffat's contract with corg/bbc runs out
As the series 8 premiere in August rapidly approaches, more details keep dropping about how Peter Capaldi’s Doctor will change Doctor Who, especially if you’ve been looking at the recent leaks. If not, let Capaldi, Jenna Coleman, and Steven Moffat tell you what the show will be like under Capaldi’s iron fist—and, of course, more talk of Peter Jackson directing an episode.
Speaking to the Sunday Times, Capaldi said he laid down the law on his Doctor’s romantic behavior. He said, “There’ll be no flirting, that’s for sure. It’s not what this Doctor’s concerned with. It’s quite a fun relationship, but no, I did call and say, ‘I want no [flirty] moments’. I think there was a bit of tension with that at first, but I was absolutely adamant.” (Expletives and Moffat’s cowering-in-fear deleted, I imagine.)
We’ve been promised in the past that things would be different for the Doctor in a coming season with nothing really coming of it, but it’s encouraging to hear that Capaldi put his foot down on how he’d like to portray the character. It sounds like they picked the right actor for the job if things are really going to change this time around.
Indeed, it really does sound like we’re finally going to get a different tone for the character, as Jenna Coleman added in an Empire magazine interview, “With Matt’s Doctor [Clara] felt quite safe, really. She knew she’d be caught if she was in danger, but this guy is a lot less human-friendly and a lot less patient. He’s more removed and inaccessible.” And Capaldi sounds like he intends to keep it that way—even down to his uninviting look.
Moffat talked to SFX about the “grey-haired stick insect,” saying,
[Capaldi] wanted to be quite stark. Stark and skinny. A stick-insect sort of thing. Clara actually calls him a grey-haired stick-insect at one point. We had some hilarious pictures of Peter just dressing up. It was all coming from him because he’s really into his clothes. I didn’t feel qualified to go and chat too much about it. Certainly the costume didn’t go anywhere until I shut up. The thing I’ve learned about showrunning is you need to know the bits you’re bad at!
In other words, Capaldi is basically in charge of Doctor Who now. Get on board or get out of the way.
Then, of course, there’s more news that Peter Jackson will probably get to direct an episode of Doctor Who eventually. At this point, it sounds like a done deal and just a matter of scheduling, so maybe he just can’t find the time to stretch that one episode into three? Jackson himself said that he finally feels ready to work within TV’s “impossibly tiny” schedules, but Moffat told SFX,
He’s still incredibly busy on The Hobbit. I’ve spoken to him face to face, and he would like to do one. He accepts that there’s no money and that there’s no time, and it would have to be when he’s available—and I don’t think he’s even been available enough to answer our emails of late!
So a Peter Jackson-directed episode is pretty much going to happen—it’s just a matter of when. Although, it’s starting to sound like the answer might be, “Whenever Capaldi damn well tells us it’s OK.”
Previously in time and space
superman, you scott summersed it!
(from DC Super Heroes Which Way Book #1: Superman The Man of Steel - written by Andrew Helfer, illustrated by Jose Delbo,1983)
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all carriers suck forever
Netflix has agreed to pay AT&T for a direct connection to the Internet service provider's network, a move that will improve streaming video quality.
The deal is no surprise—it was widely expected after Netflix reached similar agreements with Comcast and Verizon. What is surprising is that AT&T customers might see their Netflix quality problems resolved before Verizon customers.
"We reached an interconnect agreement with AT&T in May and since then have been working together to provision additional interconnect capacity to improve the viewing experience of our mutual subscribers," a Netflix spokesperson told Ars. "We're now beginning to turn up the connections, a process that should be complete in the coming days."
Read more of this story at Slashdot.
Mayflys are a winged insect that have a short lifespan. They mate in such a way that all of them mature in the exact same time. The will die out soon, but for the time being Wisconsin looks like something straight out of a horror movie.
That’s…not too far south of where I live.
O is for Owlbear.
The Secret Origin!
lol @ makerbot, whorps~
Things just got mainstream: Amazon announced a dedicated 3D print service.
The online retail giant stepped deeply into the world of 3D printing by launching a new “Main Product Category” called “3D Designs & Print on Demand”. It’s very much like Shapeways or Sculpteo: great designs may be browsed, searched, selected, printed and then shipped to your door.
At present the service boasts over 200 products, some of which are customizable. Shapeways has teamed with Mixee labs to provide twenty 3D model generators with which customers can quickly design personalized objects of various kinds. Generators include various rings, pendants, figurines and items of jewelry. They’re easy to use and prices are reasonable, at least for 3D printing.
Amazon’s tagline says: “Introducing Amazon’s 3D Printing Store; Shop the Future”. They’re not kidding - this is how the future may very well turn out. Browsing and designing objects that show up at your door tomorrow.
While this functionality has been available for some time from Shapeways and other similar services, Amazon takes it to a whole new level. Shapeways might be the biggest 3D print service, but they certainly do not have Amazon’s 250M client base. In fact, Amazon likely adds more new clients every week than exist at most 3D print services today. And these clients could purchase 3D printed items in a way they’re already very familiar with. Some of the 3D printed items even qualify for Amazon Prime, the company’s flat-rate shipping service.
Amazon also offers a way for designers to apply to their service if they wish to include their designs in the Amazon 3D Print Store. At this point, Amazon’s 200 items are far less than Shapeways catalog, but with Amazon’s massive size, that could change very quickly. What designer wouldn’t want their designs shown to a quarter of a BILLION possible clients?
But how is Amazon producing the 3D prints? Did they just buy a pile of EOS machines? Perhaps some Stratasys? No, it appears from their press release they’ve partnered with Sculpteo, one of the largest 3D print services. Sculpteo’s CEO, Clément Moreau, says:
Amazon’s deep understanding of customers coupled with Sculpteo’s fast, high-quality manufacturing process offers an unprecedented level of product possibilities for customers.
There’s no mention of Shapeways, so we presume they’re not part of the deal behind the scenes. However, it's possible Amazon is in fact using Shapeways or other 3D print services behind the scenes in addition to Sculpteo and hasn't made that known.
So what happens now? We can think of several implications of this blockbuster announcement.
Shapeways may face a steep challenge. Assuming Shapeways isn't part of the deal, Shapeways at the moment may have the edge on 3D content due to their long existence and relationships with many designers, but Amazon’s depth of client base may shift that over the next few years. It may be that Shapeways will have to partner with another retailer in a similar deal if they haven't done one with Amazon.
Sculpteo could be a huge winner in this deal. The Amazon shoppers will drive significant business towards Sculpteo’s 3D print factories, which will use economies of scale to grow rapidly.
MakerBot and Cubify / 3D Systems might not be pleased with this development, as it means some potential 3D printer buyers might instead use Amazon to satisfy their 3D printing urges. Both companies have been pursuing a content strategy around customized model generators, which Amazon now provides, too.
On the other hand, the announcement could mean this: A huge number of people will now be exposed to 3D printing through Amazon. This could very significantly grow interest in the technology, causing growth in all participants. More water floats all boats, so to speak.
Amazon’s 3D printing venture seems very serious - and permanent. It’s a bold statement to their retail competitors, who will surely try to keep up with Amazon with their own 3D printing operations.
WE ALL BECOME the YELL. Wear a BLACK clothing! Has this brib crows finall a discover ROCK N ROLL COMCERPT?
Dedicated to Joanna W. – happy birthday, Joanna!
Here’s more Doctor Who!
this was an ’80s twilight zone episode based on a richard matheson short story
tune in tomorrow for more topical references
via Osiasjota ("minha nova heróia")
saucie, do you need one of these for skyrim
The album will be called Soused and will include five tracks, with heavy titles like Fetish, Brando and Herod 2014.
that gives me no idea what the titles are “like”.
Scott Walker and Sunn O))) have
confirmed details of their surprise, genre-busting collaboration. The British singer and the American drone metal band have teamed up
for a complete, 50-minute album, due out with 4AD on 22 September.
The album will be called Soused and will include five tracks, with
heavy titles like Fetish, Brando and Herod 2014. Walker produced the
album himself, with long-time collaborator Peter Walsh. As on his
2012 LP Bish Bosch, there are orchestrations by musical director Mark
According to a press release, Sunn O)))
first approached Walker about five years ago, during the making of
2013's Monoliths & Dimensions. Walker didn't want to guest on
Sunn O)))'s LP but in 2013, after a long silence, he got back in
touch to say that he had written material specifically with Sunn O)))
in mind. They met in studio earlier this year.
While Sunn O))) haven't recorded their own studio album since Monoliths & Dimensions, they have released collaborations with Boris, Nurse With Wound and Ulver. Walker, meanwhile, seems more prolific than he has been in decades. Prior to Soused, he had released only five albums in four decades; this will be the 71-year-old's second LP in less than three years.
Last month, Amtrak notified 115 writers that they’d been selected as semi-finalists for a residency on one of the company’s fifteen long-distance routes, complete with meals and a “private sleeping roomette equipped with a desk, a bed, and a window to watch the American countryside roll by for inspiration.”
Part of an ongoing PR effort to rebrand itself as a classic, more cultured form of travel, the residency has generated enthusiastic praise from writers across social media as well as in high-profile publications like the New Yorker, the New York Times, and the Paris Review.
In the latter, Jessica Gross, a New York-based freelancer who received a trial residency earlier this year on Amtrak’s Lake Shore Limited route, extols the virtues of writing by train, describing Amtrak’s sleepers as “cozily small, like a carrel in a college library.” Likewise, Adam Kirsch waxes romantic in the New Republic on the affinities between writing and rail travel, contending that “to ride the train … is analogous to choosing to write a book when you could tweet or text. It means refusing the ‘best’ option our technology has to offer, in the name of an ideal other than speed and efficiency.”
The residency has also, however, attracted its share of criticism. Challenging Kirsch’s romantic idealism, Boris Kachka describes the residency in New York Magazine as “one ancillary, antiquated business teaming up with another full of people so needful of acknowledgment … that they’d consider a week in a four-by-seven sleeper room a ‘residency.’”
Kachka’s rebuke is part of a second-wave critical reaction to the project, coming on the heels of writers’ initial enthusiasm for the residency and criticizing it, in part, as a hastily conceived social media stunt. In n+1, Evan Kindley writes that “there is something disturbing about … so many writers and intellectuals banding together to help launch a viral promotional campaign.” And the Poetry Foundation’s Harriet blog points out that the residency’s official terms gives Amtrak irrevocable worldwide rights to writers’ work.
Indeed, it’s difficult to see the Amtrak residency as little more than a barely disguised advertising gimmick, the latest in a series of recent viral campaigns — Levi’s “Go Forth,” Apple’s “Your Verse” — appropriating writers and their cultural cachet for commercial gain.
Amtrak’s threadbare claim that the residency is “designed to allow creative professionals … to work on their craft” is belied by the fact that the 115 semi-finalists were chosen in part based on “the extensiveness of their social community and ability to reach online audiences with content.”
Even Amtrak’s admission that “we are not in the business of publishing” but rather providing “the inspirational environment in which these works are created” evinces a woefully antiquated understanding of how — and about what — writers write. One could be forgiven for thinking, given Amtrak’s description, that writers today are just as interested as Wordsworth and Keats were in the “countryside” as it “rolls by.”
Amtrak’s conception of writers’ work, that is, remains just as romanticized as the ideal of rail travel it’s attempting to promote. Its routine delays, high costs, and aging infrastructure are part of its nostalgic charm, the company would have us believe, not symptoms of a profound crisis in rail travel.
While Amtrak may be a pleasurably quaint mode of transportation for writers like Gross and Kirsch, it remains embarrassingly nonviable for lower-income Americans forced to rely on rail travel as, say, a cheaper alternative to flying or because Amtrak provides access to rural areas underserved by other modes of transportation.
A one-way ticket from Chicago to Washington, D.C. on Amtrak’s Capitol Limited route, to cite one example, costs $94, while airfare for the same trip averages $180. The Capitol Limited, moreover, makes numerous stops throughout the so-called “flyover” states, including in Elkhart, Indiana; Alliance, Ohio; and Martinsburg, West Virginia — none of which is located within an hour of a major airport.
Yet despite Amtrak’s appeal for lower-income Americans and those who live in rural communities, the company consistently fails them in its actual operations. The Capitol Limited arrived on time for only 19 percent of its runs in May 2014 — this despite the fact that “on time” for Amtrak means arriving within half an hour of the scheduled arrival. The California Zephyr, running from Chicago to Oakland, was “on time” only 18 percent of the time during that same period, and the Downeaster, from Brunswick, Maine to Boston, arrived on schedule for a mere 8 percent of its runs.
As with healthcare and education, the broad mass of people would benefit enormously from a publicly run rail system that delivered an efficient, affordable alternative to travel by plane or car. This is not an unreasonable demand — many of our cities’ buses and subway systems provide such service already. And set against, say, high-speed rail in China or Europe, the antediluvian shortcomings of Amtrak are even starker.
That writers would clamor so enthusiastically for a residency intended, at its core, to brush aside such appalling public transportation statistics should concern us. The residency is as a representative case study of the increasingly comfortable relationship between artists and corporate elites, a relationship which includes, notably, the Southern Pacific railroad’s offer, in the late 19th century, of the very first rail residency. Offering a private car to Oscar Wilde if he would visit Los Angeles, the company hoped to marshal the writer’s cultural capital in support of southern California’s then-nascent real-estate and tourism industries, in which the company had a direct stake.
Wilde declined, but the offer presaged today’s corporate vision of the arts as marketing firm, with not only Amtrak but dozens of other companies co-opting the arts to obscure beneath a patina of creativity the social and economic damage those companies cause. One might recall, for example, Chrysler’s jingoistic “Halftime in America” Super Bowl commercial, written by acclaimed poet Matthew Dickman, or, once again, Gross’ piece for the Paris Review.
“I’m only here for the journey,” Gross writes. “Soon after I get to Chicago, I’ll board a train and come right back to New York: thirty-nine hours in transit — forty-four with delays. And I’m here to write.” The implications of such a statement are significant. For the problem here is not that Gross, with her specially-arranged residency, can enjoy the Amtrak experience without having to deal with the real-world effects of Amtrak’s egregiously substandard performance, but that we all should be able to.
A more socially responsible residency, rather than supplying as Gross and Kirsch do the rhetorical veneer by which Amtrak masks its failures, would document for the American public the company’s numerous and extensive shortcomings as a mode of public transportation. In so doing, it would serve also as a powerful corrective to the already-cozy relationship between artists and capitalists that risks vitiating this country’s once-vibrant and oppositional forms of artistic production.
We have yet to see this kind of writing in the wake of Amtrak’s announcement of its 115 semi-finalists, but with several months until the final twenty-four “residents” are chosen — and with twenty-four round-trip, long-distance train rides soon after — we may still. Amtrak’s customers, saddled with the company’s second-rate performance, at least deserve better from the writers who will become their fellow travelers.
Band director fired after investigation into a culture of hazing, sexism, sexual harassment and homophobia.
The Ohio State University has fired band director Jonathan Waters "after an internal investigation that uncovered a deep culture of sexual harassment among students that reportedly has existed for years." Among the reports findings were lyrics band members have made over the years to songs that included multiple gay slurs, such as "fags" and "homos" and references to "cock-sucking."
The two-month investigation , triggered by the complaint of a parent, revealed a cascade of evidence that students routinely harassed one another -- often directed at new band members by older students -- and that director Jonathan Waters knew about it or should have known.
Waters, 38, was ousted from his post effective today, OSU President Michael V. Drake said. Details of the investigation are laid out in a 23-page report obtained by The Columbus Dispatch. ...
Several witnesses said that students performed a "flying 69" on tour buses, in which band members hung from the luggage racks and posed in a sexual position. Waters was on the bus when that happened as recently as last fall, according to a band staff member who quit last year.
The report is pretty jaw-dropping in the instances of sexual harassment, hazing, innuendo and nicknames given to band members, including members acting out sexual acts. You can read the whole report here. These band members over the years are really obsessed with cocks.
It was the homophobia that struck me, since I would have assumed band would be welcoming place. I have been amazed by comments I have seen where some readers say this is all good, clean fun. Sorry, anytime people sing about "fags" is never fun or acceptable.
Here are some samples of lyrics band members have come up with for popular songs and the fight songs of other schools. I love the initial warning intro, which basically says that if these lyrics offend you, tough.
ha ha shitttt yeah
ha ha yeah ha ha oh oh no, no dang
nah stop no, dang it, come on
sorry about the Doctorow share
Copyright scholars have long been pretty certain that "Happy Birthday to You" is in the public domain, despite the fact that Warner/Chappell claims copyright on it and charges impressive licensing fees to use it in public performances. Those fees, however, are much lower than a copyright lawsuit would be, so everyone shrugs and pays them. Until now.
A documentary film company working on a movie about "Happy Birthday" has assembled a huge body of evidence showing that the song has been in the public domain since the 1920s, and is suing Warner to get them to return the hundreds of millions they've improperly charged in licensing since. This is gonna be great.
The full lawsuit, embedded below, goes through a detailed history of the song and any possible copyright claims around it. It covers the basic history of "Good Morning to You," but also notes that the "happy birthday" lyrics appeared by 1901 at the latest, citing a January 1901 edition of Inland Educator and Indiana School Journal which describes children singing a song called "happy birthday to you." They also point to a 1907 book that uses a similar structure for a song called "good-bye to you" which also notes that you can sing "happy birthday to you" using the same music. In 1911, the full "lyrics" to Happy Birthday to You were published, with a notation that it's "sung to the same tune as 'Good Morning.'" There's much more in the history basically showing that the eventual copyright that Warner/Chappell holds is almost entirely unrelated to the song Happy Birthday to You.
The detail in the filing is impressive, and I can't wait to see how Warner/Chappell replies. As the filing notes, there are a variety of copyright claims around the song, but all are invalid or expired, and the very, very narrow copyright that Warner/Chappell might hold is not on the song itself. In other words, Warner/Chappell is almost certainly guilty of massive copyfraud -- perhaps the most massive in history -- in claiming a copyright it clearly has no right to.