Twitter has again U-turned over its verification policy, restoring blue check marks free of charge to some celebrities and other high-profile users of the social network. What do you think?
Maybe I'm completely misattributing this behavior to the clean coil but I am still just flabbergasted — gob smacked, in fact — by how clean the coil still is after four years of not caring for it at all.
I really hope this clicks for you. Links 'n' stuff: A card popped up for a video exploring the Ford Mustang Mach-E's battery pack contactors. Here's a link to that video - and you should absolutely subscribe to the Weber Auto YouTube Channel if you have any interest in the tech behind hybrid and electric cars! https://youtu.be/sZHN3fjDtpc
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AUSTIN, TX—In an effort to reinforce the fundamental Judeo-Christian values upon which the nation was founded, a new law passed Monday by the Texas Legislature will require the state’s public schools to prominently display an image of God hung like a horse in every classroom. “This measure ensures that any student…
Fox News announced it was parting ways with popular prime-time host Tucker Carlson. The Onion asked Fox News viewers what they thought about Tucker Carlson’s abrupt exit from the network ,and this is what they said.
Quantum computing has attracted a lot of attention and much of what you read in the headlines is overhyped. But underneath the hype there's real promise. In this video I go through the applications of quantum computing that we can realistically expect -- if they ever get the devices to work...
This my D&D story talking about the changes I made to Waterdeep Dragon Heist module and how the game turned out. I tried to turn up the difficulty a little bit, but it ended up being *maybe* a bit TOO tough.
End Music: "Sunshine Samba" by Chris Haugen from the Youtube Audio Library
This post was written by Alison Green and published on Ask a Manager.
A reader writes:
I think my company and, honestly, I have managed to make rather a colossal mess out of a relatively easily resolved situation and I’m a bit lost on how to get back to how we were before.
I’m a middle manager for a third sector organization in the UK, and one of my best employees is Darren. Darren is extremely hard working and flexible and his knowledge of our services, policies, clients, etc. is encyclopedic. He had a health problem last year that had him off work unexpectedly for four weeks, and the sheer chaos that caused was the stuff of nightmares.
I was completely shocked when another employee, Alan, accused Darren of religious discrimination and harassment; obviously we investigated. It turned out that Alan was making disparaging remarks about Darren being gay. He was citing religion as his motive and was unhappy that Darren was unwilling to listen/filing his literature in the nearest bin and saying, among other things, “whether your homophobia comes from Allah, Buddha, the flying spaghetti monster, or David Icke’s lizard people, I don’t care and don’t have to listen.” Which Alan found disrespectful. I think Darren was probably less than diplomatic but Alan was highly tenacious and repetitive.
So problem solved … except this is where the train wreck begins.
First, both one of our managers and a member of HR gossiped (the lack of discretion in our office could be the topic of so many posts) about Darren being investigated, and a whole lot of increasingly dramatic rumors are now circling and Darren’s reputation has taken a hit. Darren is livid and his normal affable, easygoing attitude is definitely frayed.
Second, we asked him why he hadn’t reported Alan’s behavior before and he said he didn’t think we’d care or do anything since management had been present when Alan – and, for that matter, another colleague, clients, and even partner charities (we work with small local charities, some of which are religious based) – have made inappropriate remarks about homosexuality and kept silent. Including me on multiple occasions which, though it makes me cringe, I have to say is true. By staying silent I was hoping to keep drama and potential upset to a minimum (especially since Darren is generally so genial) rather than intending to give tacit consent. I shared this among the management team and the reaction has been … more defensive than constructive. Their often loud and lengthy reactions have not convinced Darren that he was wrong to assume we wouldn’t handle his complaints appropriately, nor have they convinced him to be any less livid.
I’m flailing now to try and deal with this mess. On a professional level, losing Darren would be a nightmare and a lesser nightmare would be to have Affable, Friendly, Helpful Darren be replaced by seething Absolutely Done With This Darren. But personally I also cringe because Darren really deserved better than this. I’m completely lost and highly embarrassed.
I wrote back and asked, “What has been done in regard to Alan’s harassment of Darren? Have there been consequences? And do you have a sense of what Darren would like to have happen next? Is the answer to that just ‘be in a respectful and equitable workplace where harassment isn’t tolerated’? And if so … how likely is that to happen there?”
That’s one good thing. Alan has been told on no uncertain terms that he’s extremely off-base and needs to stop.
Michael, his manager, has also had a very long discussion with him about “free to believe something” and “free to use your beliefs as a stick to poke people with.” He’ll also have a disciplinary on file. Hopefully the line has been firmly drawn under that and Darren should see the difference.
What Darren would like to see happen next: That’s something I should ask him. He hasn’t expressly said he wants anything per se, but that his trust, tolerance, and goodwill have all been impacted. He does want the gossip and rumors shut down, retracted, and apologized for but by people higher up the ladder than me … which I worry is too big an ask for our senior leadership team because they’re so completely unwilling to hear criticism (they’re very big blame shifters and get very defensive). Equally, I’m concerned that common homophobic comments by partner organizations and especially clients won’t be shut down because we have an almost infantilizing culture (there’s a running joke that a client could stab one of us and the director would apologize to them for the blood on their shoes).
Oh no. Okay.
There’s no good solution for Darren if he stays, because your organization’s culture is actively harmful. The best solution for Darren would be to leave (on his own terms, of course, but he should get out).
We shouldn’t be looking for ways to convince him to stay in an organization that’s okay with multiple people making homophobic remarks around employees (and they are okay with it, which we know because it happened repeatedly and in front of multiple members of management, and when called out on it they just got loudly defensive). We also shouldn’t want him to stay in an organization that’s okay with his reputation taking a hit because someone else has been harassing him (and your organization is okay with it — they let it happen in the first place, and they’re not taking any action to clear it up now).
Of course he’s livid. Livid is a rational response. He shouldn’t be affable or easygoing about this. What you are seeing from him right now is the logical reaction to what your organization has done to him.
And I think you’ve realized by now that your silence while Darren (and others) were subjected to homophobia was part of that. When you say you stayed quiet because you wanted to keep drama and upset to a minimum … what you’re saying is that you were willing to tolerate Darren being upset in the face of bigotry as long as the people expressing that bigotry weren’t upset. You certainly aren’t the first person to get this wrong! But it’s important to look at it head-on and see that you were prioritizing comfort and harmony for bigots over the safety and well-being of others, so that you can resolve to navigate that differently in the future (and so you can figure out how you’ll navigate it differently — as in “if someone says X, I will say Y,” because you’re much more likely to respond in the moment next time if you’ve prepared ahead of time).
But more broadly, it sounds like homophobia (and perhaps other types of bigotry?) pervades the culture of the organization, and you know that it’s going to continue.
I think you are significantly under-counting that part of things. When you say that you want to get back to how things were before … things before were bad for Darren, and they sound like they will continue being bad for Darren.
Given all that, the kindest, most ethical thing you can do for him would be to (a) apologize for your own inaction previously, (b) be honest that you don’t think the bigotry in the organization will change any time soon and that your senior leadership doesn’t care and gets defensive when asked about it, and (c) tell him you’ll support him in whatever he needs, including helping him leave if he wants to. You should also do everything you possibly can to shut down the false rumors about him, even if you have to talk to each person one-on-one to correct the record. As Darren’s boss, you should have credibility there.
But don’t try to keep him somewhere that’s actively harmful to him. And you might think about moving on yourself — what you’ve described is awfully poisonous, and it sounds like it has affected your own thinking. That’s incredibly common when you’re managing in a toxic environment. But when you realize that you’re trying to smooth over something that shouldn’t be smoothed over, and especially when you’re doing it from a position of authority, that’s a sign to extract yourself.
Imagine if we built cars the same way we build houses. First, a typical buyer would meet with the car designer, and tell them what kind of car they want. Then the designer would draw up plans for the car.
The buyer would call different car builders in their town and show them the blueprints. And the builders might say, "Yeah, I can build you that car based on this blueprint. It will cost $1 million and it will be ready in a year and a half."
There are lots of reasons why homes are so expensive in the U.S., zoning and land prices among them. But also, the way we build houses is very slow and very inefficient. So, why don't we build homes the way we build so many other things, by mass producing them in a factory?
In this episode, the century-old dream of the factory-built house, and the possibility of a prefab future.
This episode was produced by Emma Peaslee. Molly Messick edited the show, and it was fact-checked by Sierra Juarez. Brian Jarboe mastered the episode. Jess Jiang is our acting Executive Producer.
After a surprisingly chilly Sunday, temperatures are fairly cold this morning across the state of Texas, with parts of the Houston dropping to about 50 degrees in the wake of a front. The region will see another decent cold snap this weekend as we reach the end of April. Knowing what is coming over the next five months, it’s nice to see April doing spring-like things.
It’s a cold start to the final week of April in Texas. (Weather Bell)
Monday
We will see mostly cloudy skies today because, just above the surface, winds have already turned to come from offshore, pumping moisture back into the atmosphere. However, at the surface winds will remain from the northeast for the most part today, and this will keep our air reasonably dry, with highs in the low 70s. Temperatures tonight will only drop down to around 60 degrees with this warmer flow taking hold at the surface.
Tuesday
The aforementioned moisture in the atmosphere will combine with an atmospheric disturbance to produce a healthy chance of showers, and possibly some thunderstorms on Tuesday and Tuesday night. I think any rain will be fairly scattered during the daytime on Tuesday, with partly sunny skies helping to push daytime highs up to nearly 80 degrees. Showers may become more widespread Tuesday evening and overnight. While we cannot rule out a chance of severe weather in the Houston metro area, including hail and damaging winds, the more pronounced threat will be to our west, particularly along the Interstate 35 corridor. Lows on Tuesday night will only drop into the mid- to upper-60s.
NOAA storm outlook for Tuesday and Tuesday night.
Wednesday
Never a dull day this week. Why? Because while Wednesday will start out with fairly calm weather and partly sunny weather, a front will be approaching from the west. Again we’ll not be in the bullseye for high storm chances—those will be off to the north this time—but we probably can expect some showers and thunderstorms on Wednesday night. Expect daytime highs in the low 80s, with overnight temperatures in the 60s.
Thursday
After any showers associated with the front clear during the morning hours, we’ll probably see a partly sunny day, with a smidgeon of drier air, and highs in he upper 70s.
Friday
Thursday’s front will be short-lived, so look for highs to push back up into the lower 80s, with nighttime temperatures in the low 60s. Another, slightly stronger, front looks to push in on Friday night setting the stage for a cooler weekend.
Saturday and Sunday
The weekend will feel distinctly spring-like even though we’re coming to the end of April. In the wake of the front, look for highs in the mid-70s on Saturday, likely with clearing skies. Lows Saturday night will probably bottom out in the mid-50s, and Sunday will top out at around 80 degrees with sunny skies.
If you’re riding the MS-150 bike event out of Houston this weekend, the one concern is winds. It’s too early to be certain, but I think there probably will be decently strong winds from the north on Saturday, perhaps gusting to 25 mph. Similar, but less gusty winds, will be possible on Sunday. Fortunately the likelihood of rain or any storms this weekend is very low at this point.
Next week
The start of next week should see a warming trend, with temperatures eventually getting into the mid- to upper-80s, probably. Then? Perhaps some sort of front to cool things down. We’ll see.
Joshua Goode, Norway Discovery Site, 2022. Courtesy of the artist.
North Texas artist Joshua Goode is exploring new media with his signature style in his latest exhibition Joshua Goode: The Ruins of Burg Worth at Fort Works Art. Over the past decade, Goode has explored the creation and manipulation of historic narratives in a distinctively humorous manner with staged excavations and created artifacts. I spoke with Goode to discuss the evolution of his project over the years and the present significance of these themes.
Megan Wilson Krznarich (MWK): I am fascinated by your concept of creating artworks presented as artifacts from an ancient Aurora Rhoman culture based in the present-day Fort Worth area. You also construct fantastic stories of the potential uses of some of these “artifacts.” When I saw the works I was like, how did he ever come up with this idea? So how did you get started with this concept? I know you’ve explored this concept for a few years now.
Joshua Goode (JG): Originally, post graduate school, I was creating tombs. I have a sister who has some severe disabilities and I was faced with her mortality. It made me very aware of trying to acknowledge and remember people. How do you create immortality? How do you honor someone’s memory and their legacy? So, it started out really as making tombs for her. I was building them thinking of the Mycenaean and Egyptian tombs where we put all of someone’s personal belongings into a space. It was a little dark.
In 2011, I ended up receiving the Dozier Travel Award from the Dallas Museum of Art after making a few of these installations. I proposed to go study funerary practices of prehistoric people. I was really fascinated to see how others — our ancestors — dealt with the same issue. I was in the process of researching where to go, when I was connected through archaeologist friends to a real archaeology dig at Vogelherd Cave in Germany. This is where they found some of the earliest carvings made by humans out of mammoth ivory. The whole process was fascinating. I may have exaggerated my experience, but they just threw me next to all of these German archaeologists and gave me a square where I tried to dig and be as careful as I could be. Then, I pulled out this yellow rock. I was like, “Wow. It could be used to make a painting or drawing.” So, I asked the person next to me, really excited, “what is this?” He looks at it, picks it up, and says “Ah, that’s yellow ochre. Meh!” and tossed it like it was nothing. He didn’t care at all. That was a moment of discovery and reflection about being fascinated by something and assigning it great importance. He could have said anything else to me, and I would have believed him. He could have told me it was any kind of special, magical thing and I would have been even more excited.
I became fascinated with that process of discovery and validation. How does something gain importance and how do we determine that? Of course, that fit in perfectly with what I was already doing by using these personal artifacts and trying to give them importance to other people. The first time I tried out the idea was in Cairo. I set up these big leather baskets of salt. Salt has been very important for Egyptian culture and commerce. That’s where I started to make the chimerical figures using my childhood toys, which I cut up, melted back together, then spray painted gold. I had people dig up and discover these items in the salt, then go display them and give them names and characters. That was the first time all of these elements of the project came together. I was really fascinated by the process of collaborating with the audience. That’s what I was excited about installation work to begin with. I wanted to ask how do you engage, create an experience, and really open a conversation with somebody who is visiting your work?
Installation View of “Joshua Goode: The Ruins of Burg Worth” at Fort Works Art.
MWK: So, you are intrigued by the participatory nature of installation. With that audience participation and engagement, there is also a performative nature to your work. This is especially present in this exhibition’s installation of a world map and photographs documenting your global “excavations.”
JG: I grew up with my family practicing Native American religion (Lakota Sioux), and looking for different ways to cope with my sister’s mortality. There were so many powerful, spiritual ceremonies that I was able to take part in and participate in. These were incredibly impactful to me, and I also became familiar with artists, like Joseph Beuys, who were embracing shamanistic power.
Also, I was fascinated with the Heyoka in Lakota Sioux ceremonies. The Heyoka is a sacred clown that serves as the foil and points out the absurdities of the world. In that performative aspect of my works, I play the fool. It should be ridiculous and you should laugh at me for thinking these things are real and making such bold claims. This element evolved further during the Covid-19 pandemic. Due to restrictions around travel and gathering, I turned to Instagram. I could easily stage a photograph and discovery, then engage with an audience. Most people get it and see the humor, but sometimes there are arguments over its factuality in the comments. Those that get it are quick to note that I am an artist and direct others to my page to demonstrate that I am not hiding the absurdity. This is another way in which people are invited to participate as well, pointing out that an excavation is fake.
MWK: This is an important distinction. You are inviting viewers in on the joke, so that they do not feel like the joke is on them. There is a lot of humor involved in your work, but it is also grounded in research. What role does the research play in your process?
JG: I love history and expanding my knowledge, especially of prehistoric history, the development of humanity, and how we are all connected. When I travel to a new location, it is a chance to learn something new and find a way to connect with a local audience. I want to address something that is very specific to their history.
In St. Petersburg, Russia, Peter the Great built the Kunstkamera, an anthropological and ethnographic museum filled with oddities. There were two-headed calves and fetuses with mutations, like with one eye or two heads. It was established in 1714 to educate people about these conditions and how they occur naturally, to dispel superstitious fear. So, in my project in St. Petersburg, I played with that history and made Two Headed T-Rex Skull (The Hydra). This project led to national media attention in Russia, where I was able to talk about issues of fake history, the need to check sources, and how people in positions of power can use history to shape how we view things. Considering recent events in Russia, it is really sad to reflect on, but I felt it was important to say that on the national news there.
By connecting with local history, my projects invite people in because they are familiar. They also point out that I am a fool and educate me on the real history. We have real discussions on their history, not the absurd version created by a silly American. Then other people in the audience will chip in with their stories. I love the interesting discussions and learning so many new things, but I find it also helps to expand the audience beyond those who would typically visit a gallery or a museum.
MWK: I love that sharing of power. In museums, we often discuss the need to break down the mantle of expertise. I appreciate how you’re going into communities and inviting them to share their wisdom, knowledge, and assert their expertise around their cultural stories. I think that’s a really lovely aspect.
Your project has really shifted and evolved over the years since you started. Fake news and fake narratives are very much in our awareness now.
JG: There has been a natural mutation of it over the years and it feels more urgent now. We’re clearly seeing the real-world effects of fake news, controlled narratives, and how easily we can shape how people act based on what they think their history is and what they want to return to. It is a fine line that I try to walk. “Am I contributing to a problem? Am I also creating fake news?” It is walking that line so people can tell that my excavations are fake and identified as fake. Hopefully, it will help them strengthen their critical engagement and identify false narratives.
This is also why I use characters from The Simpsons and other recognizable pop imagery in my artworks. This is also why the in-person engagement is so important, and I am always looking for the next location. It creates a different energy, a different dynamic, getting to talk with the community. Hopefully it impacts the way they look at themselves, their history, and lets them find commonalities with others. Humor and satire make it easier to address such serious ideas.
Joshua Goode, “Hulktaur,” 2018, bronze.
Joshua Goode, “Lovers Gate,” 2020, barn doors and mixed media.
MWK: You mentioned your inclusion of pop culture characters, like the Simpsons and Hulk Hogan in Hulktaur. It struck me that although these are not from the ancient Aurora Rhoman era, as reported, they are still a bit dated at this point, from the 1980s and 1990s. Is there a reason you are referencing this particular era instead of more recent pop culture?
JG: It again goes back to my sister and my family. The Simpsons is a fantastic show that I fell in love with growing up, and it was a great comedic distraction that got me through some hard times. I had these objects as toys when I was a kid. All of these are personal artifacts that were really important to me. I wanted to recreate them, give them a universal importance, and an entire historical narrative. The 1980s nostalgia is there, because that was my childhood. Now there are some newer things I am dealing with, like SpongeBob. It is not that new, but my son is really into SpongeBob. So, I now integrate items that are or were important to my children.
MWK: It goes back to your earlier point about elevating the materials of everyday life and everyday people. That is a great way to connect with audiences as well, because the references are so familiar to many, at least of a certain age.
To continue diving into the artworks in the exhibition, could you share more about Rhoman Artemis and your particular interpretation of the Greek goddess?
JG: It is based on Artemis of Ephesus sculptures which have spherical objects covering their torsos, typically interpreted as breasts or bull testicles. I have always found truck nuts — large bull testicles attached to a truck — to be one of the most absurd things in southern United States culture. It is such an overly masculine, testosterone-fueled, boy-man concept. Rhoman Artemis was an opportunity to play with both of these ideas. And it was my first pandemic project. I always kind of had it in the back of my head, but I hadn’t wanted to take the risk of making a sculpture covered in truck nuts. It is a very tongue-in-cheek Texan reference to me. It also shows my sense of humor. I like to take something recognizable from art history, put my spin on it, and subvert it somehow where it still is recognizable, making it partially what it should be, but it also contains elements that clearly should not be part of it.
Joshua Goode, “Hydra,” 2022, plaster and mixed media.
Joshua Goode, “Wildcat I,” 2021, plaster and mixed media.
MWK: In the exhibition, there is a more recent body of plaster and mixed media works, including Hydra and Wildcat Hunting. What prompted the transition to working in this format?
JG: To be honest, as an artist I get bored just working in one medium. I am always looking for a new challenge and a new way to visualize my work. Cave paintings have long fascinated me, so I am trying to take on that language but keep sculpture as part of it. I am really into object making. I look at everything as an object. My academic background is in painting and I still teach painting. So, I am always trying to find a way to bring painting back into this concept. Playing with cave paintings was a way to keep that physicality and the idea of an artifact, while being able to introduce more of a painterly approach.
MWK: What are you hoping visitors will take away after seeing the exhibition at Fort Works Art?
JG: I hope they enjoy it and have a laugh. When I was first creating this type of work, people would come to me and ask if it was okay to laugh. They were nervous about offending me. I want them to laugh. It is supposed to be funny. That is the idea. I want people to feel comfortable having a different response to an art show, while still being able to deal with serious subject matter. I also want visitors to think about history, and to think about what they know and think of history. I hope they recognize references to art history and our local culture. You have to know where you have been and know where you are going to make change. I really want visitors to take that deep dive. Self-reflection on the history of a location is really important for growth. Hopefully, this will help us shape our future together.
Joshua Goode: The Ruins of Burg Worth is on view at Fort Works Art in Fort Worth through April 29, 2023.
This interview has been lightly edited for length and clarity.
Wanna rant about space settlement (pro or con) in a way that is substantially MORE ACCURATE and includes notes on legal/culinary matters pertaining to space cannibalism? A City on Mars:
WASHINGTON—Noting that the most opulent were under constant pressure to make cons meet, a survey by the Pew Research Center released Monday revealed that nearly six in 10 wealthy Americans are living fraud to fraud. “Burdened by the escalating need to line their pockets, affluent Americans are increasingly forced to…
For almost two decades, MSKey Readme1 has heralded the defeat of Windows XP's product activation, not via mere circumvention, but by cracking the encryption algorithm itself.
Based on the even earlier Inside Windows Product Activation: A Fully Licensed Paper2, WindowsXPKg3 launched on Microsoft's GitHub platform four years ago (see update #3 below). While it can generate product keys, the program relies on an external, third-party server to return the Confirmation ID.
In a post last year on the Windows XP subreddit (Windows XP web activation is finally dead…), retroreviewyt shared xp_activate32.exe4, which calculates the Installation ID then generates and optionally applies the corresponding Confirmation ID to activate Windows XP, all offline. Wiping the system and reinstalling Windows XP results in the same Installation ID being assigned by Windows (assuming no change in hardware or product key), thus the same Confirmation ID obtains even in msoobe's standard telephone activation window.
In fact, the paper was released in July 2001, before even Windows XP was released to manufacturing. However, it was kept "a little vague at some points in order not to facilitate the task of an attacker attempting to circumvent the license enforcement supplied by the activation mechanism".
Elliptic Curve Key Tool is a similar app that does not require recompiling for each combination.
The purported source code for xp_activate32.exe has been posted to MDL (since deleted) by diamondggg, who referenced such a tool in 2021. See this thread for more information.
On the provenance of WindowsXPKg, Endermanch stated: "This repository is not the original source for the Windows XP Keygen. The original was uploaded to PlanetWPA as part of MSKey 4-in-1 algorithm sources back in early 2000s and was made by z22." The comment has been updated with additional details and, along with his XPKeygen README, is sine qua non for understanding the history and mathematics behind this story.
He hands me the standard issue American flag variety with its red, its white, its ever-deepening blue. But I am tired, America, tired of your shouting flags, this flag, all our flags, every—God help us— flag flying, flag lowered, flag bullet-holed and half-masted.
I ask if he has anything else, wishing flowers, trees, some soft wash of watercolor, a woman’s vivid face. “Cowboys,” he answers. “And cowboy hats.” Slaps them down take-it-or-leave-it on the counter between us. I leave them. Leave the cowboys.
Leave their stupid John Wayne hats. I take my little book of shrunken flags and step back outside into a sunlit summer— its spacious grace, its tiny trembling buds of red, great clouds of white suspended, scattered across the steadfast blue. Two small shining
girls skip past me, trailing their elegant mother, their hair the color of wrens lifting and falling in the come-and-go wind, streaming, ribbons of light, waving, waving. My country ‘tis of thee. I pledge my allegiance.
Cars pass through downtown Lindale, Texas on a sunny day in May 2018. Michael Barera/Wikimedia Commons, Creative Commons Share Alike license
Dear Readers,
It’s been the greatest pleasure to select poems for the Texas Observer for approximately the past 28 years. Thanks to many editors—Ronnie Duggar, Lou DuBose, Geoffrey Rips, and more—who welcomed the voices of poets in these esteemed pages. I’m making room for a new poetry editor now, with thanks for your readership. And don’t forget, poetry is often a palate-cleanser!
MyPillow chief executive Mike Lindell said he has no intention of paying the arbitration panel's order of $5 million and that he expects the dispute to land in court.
The Tony Award-winning comedian was internationally renowned for his garish stage persona Dame Edna Everage, a condescending snob whose evolving character delighted audiences over seven decades.
Belgian customs destroyed a shipment of 2,352 cans of Miller High Life after the Champagne trade body called foul over the "Champagne of Beers" slogan.
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