Shared posts

15 Apr 17:38

Harajuku Nurses w/ Decora Hair Pins, Gas Mask & Randoseru

by Street Snaps

Nata and Sato@310, are two 16-year-old students we met in Harajuku. Their nurse-inspired looks mix in elements of decora fashion.

To the right we have Nata, who has pastel braided hair and a red cross hat. She is wearing a pastel dress with a galaxy print jacket and canvas sneakers. She accessorized with a gas mask, bow and star hair pins, a candy brooch, pendant necklace and syringe bag. Nata told us she likes shopping at Spinns and that she’s a Radwimps fan.

Sato@310 is the girl with dark bob hair and many decora hair pins. She is wearing a red and white dress with a white coat over it, and ribbon-tied flatforms. Her accessories include a dripping choker, goggles, star and cross pins, fingerless gloves, plastic rings, a red randoseru backpack and strawberry print socks. She is a fan of Urbangrade and likes to shop at Kinji.

Harajuku Decora Nurses Pastel Braided Hair & Gas Mask Pastel Hair & Face Mask Stars Hair Pins Gas Mask Fashion Candy Pin & Plastic Chain Syringe Bag in Harajuku Canvas Sneakers Bob Hair & Goggles Decora Hair Pins & Bob Decora Hair & Face Mask Dripping Choker & Goggles Cross & Star Pins Fingerless Gloves & Plastic Rings Red Randoseru Backpack Ribbon Flatforms

Click on any photo to enlarge it.

15 Apr 12:39

Mareunrol

by admin
Taylor Swift

Y/N these would be like 100 times as cool without the hat part of the hat

// mareunruls

// mareunruls

// mareunruls

Yes, head-in-cloud hats from Latvia-based MAREUNROL by Marite Mastina-Peterkopa and Rolands Peterkops at Not Just a Label via whimsical agnesiga.

15 Apr 01:50

How the R&B chart died

by humanizingthevacuum

Chris Molanphy, writing his most thorough and encyclopedic essay yet, chronicles the slow death of the R&B chart, once a place with its own history. How Freddie Jackson, Alexander O’Neal, Maze ft. Frank Beverly, and Rene & Angela scored so many R&B hits without the Hot 100 top ten at all baffled me when I dug deep into R&B a decade ago (I own a few Billboard magazines bought as as teen and remember seeing Jermaine Jackson’s “Don’t Take It Personal” atop the Hot Black Singles chart and thought what the hell). The deep look at the 1963 chart thrilled me. We will need the music biz equivalent of the Warren Commission to investigate why listeners loved Jimmy Gilmer & the Fireballs’s horrifying “Sugar Shack.” Then the R&B chart disappeared for more than a year. When it returned, “My Girl” was number one. We had recovered. The gist:

Billboard’s new accordion-style genre-chart methodology, with the Hot 100 playing the part of the presidential vote, is not much better than that. All the interesting quirks that make one song a better fit for the core R&B audience and another a pop crossover smash are eliminated. This approach isn’t the way Billboard’s genre charts are supposed to work; they are supposed to be based on a different sample of data—not just the Hot 100 data, editorially pruned by Billboard.

Emphasis on editorial: What is perhaps worst about this system is how Billboard, supposedly objective chart-maker, is now in the sorry business of trying to decide who qualifies for an R&B chart, with all the bizarre identity implications. Justin Timberlake and Eminem? In. The biracial Bruno Mars, or the Mariah Carey–like Ariana Grande? Out. I don’t have any better grasp on whether these artists should qualify for the chart than Billboard does. But the magazine is playing a role that used to be played organically—by shoppers at black retail stores and R&B radio—on a song-by-song, artist-by-artist basis.

The goal, of course, is to create a gauge to track the quirks of a chart as singular as its audience: “Restoring R&B/Hip-Hop Songs as an audience chart, not a genre chart, would uphold a great, multi-decade tradition.”


14 Apr 07:50

Pink Hour (Studio Pixel)

Taylor Swift

EXCUSE ME?

Platform: Windows — Pink Hour (Studio Pixel) There are only two words you need to see before downloading this game: Studio Pixel. The creator of Cave Story has been hard at work on the upcoming sidescrolling platformer Kero Blaster, but in the meantime, we get a free game! Pink Hour serves as a small taster for next month's big release, stuffing plenty of shooting, pixel-perfect jumps, and painfully high level of difficulty into its cute little package. Tagged as: action, download, free, game, highdifficulty, indie, platform, playism, rating-y, shooting, studiopixel, windows
13 Apr 23:26

Pink Nadia Harajuku Jacket, Cropped Sweater, Pleated Skirt & Platforms

by tokyo
Taylor Swift

Grease 3 is gonna rule

Nori is an 18-year-old student who we have been seeing around the streets of Harajuku for several years now.

Her look here features a pink satin jacket from Nadia Harajuku with a cropped sweater from I am I over an Opening Ceremony top, a pleated American Apparel skirt, striped knee socks, and Yosuke platform sneakers. Accessories – some of which came from Thank You Mart – include a cute lipstick pin, heart-shaped sunglasses, and an I Am I sequined envelope clutch with lips and ears.

Nori’s favorite shop right now is Nadia Harajuku and she likes the music of Perfume. If you’d like to know more, find her on Instagram.

Pink Nadia Harajuku Jacket & Pleated Skirt Pink Nadia Harajuku Jacket Lipstick Pin & Cropped Sweater Heart Sunglasses & Pleated Skirt I Am I Lips Envelope Clutch Striped Socks & Platform Sneakers

Click on any photo to enlarge it.

12 Apr 16:23

John Roberts defends the poor

by humanizingthevacuum


12 Apr 16:07

Gero Blaster: Because "Made for iOS" Doesn't Have to Mean Brain-Dead

USgamer previews Daisuke "Pixel" Amaya's upcoming spiritual successor to Cave Story, Gero Blaster for iOS and PC.
10 Apr 18:01

Tomodachi Life Coming West on June 6

Taylor Swift

OH MY GOD, YES, YES, A THOUSAND TIMES YES

USgamer reports on the official confirmation that 3DS social game Tomodachi Life is coming to Western territories on June 6.
09 Apr 14:35

dennys: You guys are always asking us what our favorite anime...

Taylor Swift

AAAAAAAUGHh



dennys:

You guys are always asking us what our favorite anime is. It’s this one. But someone needs to write it first. And give it a title?

私のデニーズウェイトレスはこのかわいいことはできません!

09 Apr 14:35

Iconoclasm

08 Apr 14:23

Bad Quotes

by DCB
To manage a business successfully requires as much courage as that possessed by the soldier who goes to war. Business courage is all the more natural because all the benefits which the public has in material benefits comes from it.
-Charles F. Abbott

Catholic doctrine and discipline may be walls; but they are the walls of a playground.
-G.K Chesterton

It's alright for the navy to blockade a city, to starve the inhabitants to death; but there is something wrong, not nice, about bombing a city.
-Sir Arthur "Bomber" Harris

A mere forty years ago beach volleyball was just beginning. No bureaucrat would have invented it-
and that's what freedom is all about.
-Newt Gingrich

Nobody in the game of football should be called a genius. A genius is somebody like Norman Einstein.
-Joe Thiesman

07 Apr 18:53

Square Enix Launches Collective, Reveals IP Up for Grabs

Taylor Swift

GEX! GEX! GEX!

USgamer reports on the official launch of Square Enix's Collective program, offering independent developers the opportunity to work on old Eidos IP such as Gex, Fear Effect and Anachronox.
07 Apr 17:14

Cute Short Hairstyle, Round Glasses & Peter Pan Collar Dress in Harajuku

by tokyo

Sahomi is a 21-year-old student whose cute look caught our eye on the street in Harajuku.

Sahomi is wearing a vintage-style black dress with a white peter pan collar, white socks, and black loafers. Accessories include round glasses and a black leather shoulder bag from Gucci. Her cute short hairstyle with a pink accent also adds to the cuteness of the look.

If you’d like to know more about Sahomi, check out her personal blog or follow her on Twitter!

Cute Round Glasses in Harajuku Black Dress With White Peter Pan Collar Cute Short Hair with Pink Highlights Gucci Leather Shoulder Bag Black Women's Loafers in Harajuku

Click on any photo to enlarge it.

07 Apr 14:15

The Short Con – by Aleks Sennwald and Pete Toms

by zacksoto

Pops might be the best kid homicide detective in the crime-ridden near future, but can her and her new partner solve a murder without killing each other?

- NEWEST UPDATE -

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06 Apr 03:51

"Political Views"

Taylor Swift

The way that engineers look at social issues are often wrong; I do not believe that this one is.

Marco Arment on Brendan Eich and our rapidly shifting human decency  
05 Apr 00:18

Take note: Ron Gilbert’s early designs for The Secret of Monkey Island

by Phil Scuderi
Arr, that be the Devil's Triangle.

The Sid Meier’s Monkey Island that almost was.

With every year that passes, every extra bit of hindsight, and every swig of grog I feel more and more comfortable proclaiming The Secret of Monkey Island the best adventure game ever made. The script, art, music, characters, plot, puzzles and jokes all combine in as rich and elegant a game as has ever existed. So perfect is the interplay between them that it’s hard to believe the game didn’t spring from Ron Gilbert’s mind fully formed as Athena from Zeus.

All this week Ron’s been posting his old design notes from a moldering notebook he found. The pages contain plenty of recognizable elements, but also some discarded and frankly weird ideas, the kind you get when your grog is hopped up with extra pepperoni. Here are some highlights:

  • At one point Ron considered a time travel mechanic that would have seen Guybrush and company visiting the ancient Romans, our caveman ancestors, and even the dinosaurs.
  • The game might have included a Sid Meier’s Pirates!-esque raiding/looting/selling system–which is to say, a pirate economy.
  • Some of the notes point to potentially fatal obstacles or challenges. (In the finished game, Guybrush can’t die unless you deliberately let him.)
  • There are evidently four changes involved in the transition from snake worship to rat worship. Now you know.
  • “When you appear in caveman times, there is a man and a woman, when he rushes you and you have to kill him. Then you must sleep with woman or no life.” A touching allegory for all to cherish.

For more of this sort, head on over to Ron’s blog Grumpy Gamer. For the sake of posterity, the posts with pictures from the notebook are here, here, here and here (UPDATE: and here. Keep ‘em coming, Ron). And speaking of posterity, let’s thank Ron Gilbert for sharing these valuable sketches. Where many creative people would hesitate to share the dubious fruit of their brainstorming sessions, he’s given us insight into a formative moment in the history of gaming.

04 Apr 15:20

Engelbert Humperdinck: Molly needs to sing with her eyes

by Angus Quinn
Taylor Swift

This is a FANTASTIC second-sentence turnabout

Engelbert Humperdinck, celebrated warbler and the UK’s 2012 Eurovision contestant, has imparted a few top tips to this year’s UK act Molly Smitten-Downes in the Leicester Mercury. Humperdinck received a tidal wave of criticism in the UK press after placing 25th in Baku in 2012 and receiving only 12 points. This was despite Humperdinck being ranked 6th(...)

The post Engelbert Humperdinck: Molly needs to sing with her eyes appeared first on Eurovision 2014 Predictions, Polls, Odds, Rankings | WiwiBloggs.Com.

04 Apr 02:20

“Realistic to the switch”: An interview with SAM Simulator’s ‘Hpasp’

by Phil Scuderi
Taylor Swift

Oh my god. Oh my GOD. (This would be GREAT FUN to attempt to collectively play at a communal get-together, I think???)

I say close your eyes and let it come naturally.

Just tell me which one’s the ‘on’ switch and I’ll be good to go.

There is no more accurate, demanding, or unlikely simulator available today than SAM Simulator, which recreates in exacting detail vintage Warsaw Pact surface-to-air missile systems. It’s a one-man labor of Hercules created by an enigmatic Hungarian (indeed I know of no other kind) who goes by the name Hpasp.

He created SAM Simulator in 2006 and has been offering it for free since 2009. Over the years he’s expanded the game with new missile platforms, major features like Google Earth integration, and historical scenarios ranging from Hanoi to Tripoli. If you want to spend an evening trying to bag Gary Powers’ U2 spy plane, defending Vietnamese airspace from B-52 bombers, or cursing the cheap Soviet engineer who saddled your Shilka with analogue gauges and a mechanical “computer,” SAM Simulator is simply the only game in town.

I managed to get hold of Hpasp and ask him about his life, his game and his sanity. He spoke of Cold War tensions, semi-secretive infiltration missions, and singular devotion to his craft. And despite my efforts he carefully avoided saying anything that might provoke an international incident. Drat!

They never give notice! They just stop on in whenever they feel like it.

Put the kettle on, the Israelis are coming.

Phil Scuderi: So what’s your story, Hpasp? Reveal to us the man behind the name.

Hpasp: I’m just a civilian, with a strange hobby. I never actually served in the army.

Since childhood I was rather interested in the technical aspects of military hardware. During the ’80s, the coldest part of the Cold War, as a child I found it comforting to know that somewhere at a nearby SAM site, soldiers were awake guarding my sleep around Budapest. I never dreamed I’d someday have deeper knowledge of SAMs than a Jane’s Land Based Air Defence book.

Phil: Unless you count Missile Command, I’m pretty sure yours is the first-ever surface-to-air missile sim. How did you come up with the idea?

Hpasp: I got interested in flight simulation through Microsoft Flight Simulator, and created some free sceneries for that. I really liked the system-level simulations of Boeing airliners, with procedures, and buttons… but my frustration grew, because of low frame rates, and the huge investments needed in hardware after every new release.

In 1999, Hungary joined NATO. A year later most of these SAM systems (SA-2, SA-3, SA-4, SA-5) were decommissioned. Most of the people who had operated these systems since the ’60s were laid off.

From 2002, several books and publications started to pop up, and I started to collect them. Even the Russian media started to share the eastern side, accounts from participants of several battles. An Internet forum started in 2005, where several people who served these systems began publishing information.

As I got to know these people personally via the forum, I started to toy with the idea of a SAM system simulator. I’m not a programmer, so I learned to program as I worked on the simulator. I do it in my free time, just as a strange hobby.

What better motivator to learn than heavy ordnance.

The game comes with thorough documentation… though it still wouldn’t hurt to brush up on your Cyrillic.

Phil: To this point you’ve focused mainly on simulating Cold War-era equipment. Is that because those are the SAM systems for which you can find documentation, or does it reflect a deeper interest?

Hpasp: To keep honest to my motto “Realistic to the Switch,” I have several restrictions on selecting SAM systems to be simulated:

  • I must have the original documentation of the system
  • I must be able to photograph the real system panels
  • I need to be in contact with those “who were there and done that,” meaning operators who at least fired lived missiles at a firing range
  • The system can’t be considered a national secret in Hungary anymore–which is why the 2K12 KUB (SA-6A) is missing.

Here’s a timeline of development so far:

  • 2006 – I started with the S-75M Volhov (SA-2E) system.
  • 2007 – S-125M Neva (SA-3B)
  • 2009 – website opened, Linebacker-II (Hanoi Scenario)
  • 2010 – Gary Powers U2 scenario, 2K11M1 KRUG (SA-4B)
  • 2011 – S-200VE Vega (SA-5B), SA-75M Dvina (SA-2F)
  • 2012 – Operation El-Dorado Canyon (Tripoli), Nuclear Missiles (Volhov, Vega), 3DAAR (After Action replay in Google Earth)
  • 2013 – ZSU-23-4V1 Shilka
  • 2014 (planned) – 9K33M1 OSA (SA-8B), the first system with a visual 3D environment for the outside.

Phil: The ZSU-23-4V1 Shilka stands out as the only anti-aircraft artillery system you’ve modeled. From a player’s perspective, what’s different about using AAA as opposed to a SAM system?

Hpasp:  It is quite a deadly system, but compared to expensive SAMs, here you can feel how the Soviets were designing cheap equipment. It has a mechanical fire control “computer” with several steam gauged instruments. Compared to the 1-3 missile launch of the SAMs, with a Shilka you can fire ~55 bullets per second, for ~35 seconds long. :)

Shilka. That's a pretty name.

Hpasp’s source photo for the Shilka commander’s station…

Just point me to the on switch and I'll be good to go.

…and the same station reproduced in SAM Simulator.

Phil: In order to simulate SAM systems, you’ve also got to simulate (to some degree) the aircraft targets overhead–their flight patterns, radar cross-sections and so on. How accurately does SAM Simulator handle aircraft?

Hpasp: As well as it can. For example, the radar cross section of the F-117A Stealth Fighter was calculated based on the observations of Col. Zoltan Dani from the Serbian Air Defence, whose unit shot one down in ’99. (He is an ethnic Hungarian, by the way.)

Phil: How have your interactions been with the sim community? They’re a notoriously tough bunch to please…

Hpasp: There’s an English language forum at SimHQ. Behind several avatars, there are people who “were there and done that” (operated these systems) in real life. So the forums are surprisingly professional as should be with “cool headed missilemen.”

Whoever said soldiering didn't require imagination?

Targets show up as spikes on the Shilka’s range meter.

Phil: What was the hardest bit to get right? Were there any systems that were particularly hard to simulate?

Hpasp: Creating the photos of the actual systems was the hardest part. Some of these are available in Hungarian museums, but some were never fielded in Hungary, so I had to travel abroad (crossing several countries and hundreds of kilometers) and organize access to those.

Phil: Wow, you traveled internationally for your research? Which countries did you visit? And how exactly does one go about “organizing access” to expensive military hardware? I’m imagining nighttime infiltration à la Splinter Cell…

Hpasp: Yeah… with these questions, we have reached a sensitive limit. :) Officially: I’m not authorized by those organizations and persons who made these trips possible, to share these details publicly.

Phil: Have you ever thought about bringing the game to Steam or other platforms? If people will pay for farm tractor sims, surely they’ll pay for this.

Hpasp: No, the best things in life are free. :)

SR-71's eye view.

Feeling claustrophobic? Upload your after-action report to Google Earth.

Phil: One of the challenges of playing SAM Simulator is that you’ve got to flip very quickly between control stations. Have you given much thought to multiplayer mode to help share the burden?

Hpasp: There are several development options for the future, and this is one of them.

Phil: What’s up next for SAM Simulator?

Hpasp: Currently my focus goes towards the 9K33M2 OSA-AK (SA-8B) system, the most advanced SAM of the Cold War, before the introduction of phase-modulated arrays and digital computers.

Phil: Phase-modulated arrays? Next you’ll tell me these things run on warp power. You do know that everyone who lays eyes on SAM Simulator assumes only a madman could have designed it, right?

Hpasp: [laughs] As I said earlier, its like a strange hobby, but I collected so many friends from those people who “were there and done that,” so many invaluable dedicated books…

Phil: Thanks for your time, Hpasp.

Hpasp: Thank you.

Hpasp was good enough to send me these exclusive shots of Soviet SAM control panels–on the condition that I didn’t ask how he got them. I asked anyway but he still sent ‘em along. What a chap.

SA-2E Volhov.

SA-2E Volhov.

SA-2F Dvina.

SA-2F Dvina.

SA-4B Krug.

SA-4B Krug, showing underside of the antenna tower (the big circle on the ceiling).

SA-4B Krug, alternate angle.

SA-4B Krug, alternate angle.

SA-5B Vega.

SA-5B Vega.

SA-8B Osa.

SA-8B Osa.

04 Apr 02:15

Erotica Written By An Alien Horrified By The Human Body

by jwz
"Jostling occurred for an extended period of time, then silence."

"They mutually thrashed their softest, most vulnerable parts about in a normal attempt to seek pleasure at the other's expense."

"Their mouths, which mere minutes before had been employed in the process of demolishing and ingesting various foodstuffs, were now jammed up damply against one another while still being used for breathing, which must have been more than a little uncomfortable."

"Bits of one jammed into bits of the other, dangerously close to some of the weakest and most important internal organs."

"With absolutely no regard for personal space, the two of them created an unnecessary amount of friction, generating sweat in the process."

"Some sort of gel emerged."

"One sat upon the other, like furniture that sneaks inside of your body."

"Her genitals engulfed his for some arcane purpose."

"One of them put their teeth-cave directly over the other's fleshiest appendage, but did not bite it."

"His genitals emerged from his body with no protection whatever, so that any passing bird could have easily swooped down and carried them off in its beak."

"They licked one another as if they were food, but they were not food."

"They took off their clothes, leaving their soft and hairless skin exposed to dust, wind, cold, and various other deadly elements."

"Jostling occurred for an extended period of time, then silence."

"Everything was just a mess."

"Various parts inched forward, then retracted, rather as turtles do."

"Together they put all of their clothes in a pile on the floor, where the dog lives."

"Only hours before he had used the very same appurtenance to urinate. He had not washed it in any significant way before inserting it into the other human's body."

"They writhed together like a Chinese finger trap."

Previously, previously, previously, previously, previously.

02 Apr 16:38

Imagine All The Drama We’d Have Been Spared If DeSean Jackson Just Stole His Label Name From Fatal Errection

by GC

“Jackpot Records May Have Ruined DeSean Jackson’s NFL Career” is the hypothesis proposed by Willamette Week’s Matthew Singer, suggesting the wide receiver’s recently exit from Philadelphia might’ve been helped in part by an association with a Portland record store/independent label that did such a fine job reissuing Wipers albums.

An article published by NJ.com shortly before the Eagles announced they were cutting Jackson laid out the accusations connecting the 27-year-old native of Long Beach, Calif., to the Crips, including tenuous links to two supposedly gang-related murders and incidents of Jackson throwing up gang signs during games and on Instagram.  

Among the more esoteric pieces of reported “evidence,” though, is the fact that Jackson founded a record label called Jaccpot Records. Why the janky spelling? Well, according to the article, Crips members refuse to place the letter “C” next to a “K,” “because in gangspeak, that stands for ‘Crip Killer.’”

When questioned by police, however, Jackson offered a different explanation as to why he named the label Jaccpot: Because “Jackpot Records” was already taken. As Grantland’s Bill Barnwell points out, “[t]here are several previously existing labels that go by the name of Jackpot Records, including the current Portland-based outfit that has re-released albums by the likes of Jandek.”

01 Apr 19:35

Frankie Knuckles – RIP

by humanizingthevacuum

Songs require expert manipulations of space. To my ears Frankie Knuckles wasn’t a maximalist. Building — often reconstructing — records a level at a time sustained tension. “Infusing certain ideas like Debussy-esque piano over a very thick house track or bass line is something that blew their minds,” Knuckles said in a Red Bull Music Academy lecture quoted by Michaelangelo Matos in his excellent obituary and consideration. The first that comes to mind is this remaking/remodeling of Michael Jackon’s “Rock With You,” first heard on a Chicago rooftop on a clear afternoon six years ago.

Euphoric, yes, but regret is an essential component of euphoria (i.e. the feeling can’t last). That’s what I hear in those piano chords. Sadness permeates the thick cluster of block rockin’ beats in Knuckles’ remix of Pet Shop Boys’ “I Want a Dog,” certainly the first time I saw his name on credits.

Those high synth block chords remain the Knuckles trademark, beside which blank vocals sounded frank, and the tension between beats and melody the essential component of modern dance. It’s all there in this classic collaboration with Jamie Principle:

I could extend this list to include the aqueous remix of Rufus and Chaka Khan’s “Ain’t Nobody,” the remixes of Lil’ Louis’ “Fable” and Lisa Stansfield’s “Change.” In 2008 he topped my singles of the year with an austere, glistening reinvention of Hercules & Love Affair’s “Blind” in which Antony Hegarty sounds marooned and more desolate than ever: a holy spirit of tremulous need.


01 Apr 14:15

Georgia: Wiwi Jury reviews The Shin & Mariko with Three Minutes to Earth

by Willy Lee Adams
Taylor Swift

SURPRISE, IT'S EUROVISION SEASON. https://www.youtube.com/watch?feature=player_embedded&v=o9ixkdkbieU This is basically "prog Rusted Root," right?

"More like three minutes of glorified noise. It’s basically a hotchpotch of musical calamities."

The post Georgia: Wiwi Jury reviews The Shin & Mariko with Three Minutes to Earth appeared first on Eurovision 2014 Predictions, Polls, Odds, Rankings | WiwiBloggs.Com.

01 Apr 14:09

“No water so still as the/dead fountains of Versailles”

by humanizingthevacuum

Refusing to treat her as an eccentric, i.e. on the poet’s terms, Linda Leavell’s new biography, the first in years, regards Marianne Moore as a a modernist whose singular metrics found a correlative in her dozens of poems about mammals, sea creatures, inanimate objects. Here’s “No Swan So Fine,” which ends with one of the most surprising, perfect interjections I’ve read.

“No water so still as the
dead fountains of Versailles.” No swan,
with swart blind look askance
and gondoliering legs, so fine
as the chinz china one with fawn-
brown eyes and toothed gold
collar on to show whose bird it was.

Lodged in the Louis Fifteenth
candelabrum-tree of cockscomb-
tinted buttons, dahlias,
sea-urchins, and everlastings,
it perches on the branching foam
of polished sculptured
flowers–at ease and tall. The king is dead.

Happy April foolin’.


01 Apr 02:53

Anyone Can Make a Comic

31 Mar 18:09

Harajuku Girl w/ Blue Twin Tails in Spinns Bustier, Checkered Top & Cute Sneakers

by Street Snaps
Taylor Swift

Kindness Elf located

This is Ameri, a friendly Harajuku girl with blue/green twin tails and a cap. She works at Spinns on Takeshita Dori, and we see her often around the streets of Harajuku.

Ameri is wearing a Spinns bustier over a checkered long sleeve and white resale pants. Her red bag – decorated with Ren & Stimpy and Hysteric Mini patches – is also resale, and she got her blue sneakers at auction. Her cross and spikes choker is from Spinns, which is also her favorite shop. She also accessorized with stud earrings, bracelets, rings and a watch.

Ameri told us that she’s an Avril Lavigne fan, and that she’s active on both Twitter and Instagram.

Spinns & Resale Outfit in Harajuku Blue & Green Hair Blue Twin Tails & Earrings Spinns Cross & Spikes Necklace Bracelets, Watch & Rings Hysteric Mini x Ren & Stimpy Red Bag Blue Scoop Club Sneakers & White Pants

Click on any photo to enlarge it.

31 Mar 17:35

TVs and Retro Gaming / Emulation

by noreply@blogger.com (Hunter K.)
Taylor Swift

ATTN: Casey

INTRODUCTION

Retro gaming is a hobby of mine and, as I started looking into hooking my retro consoles up to modern displays, I found a bunch of incomplete information and dead links scattered among various enthusiast forums, along with misunderstandings and oft-repeated misinformation. So, after diving down the rabbit hole and exploring a bunch of different options, I decided to post my findings in the hopes of saving others from making any costly, avoidable mistakes.

THE ISSUES

I have a big LCD HDTV with a HTPC connected that I use for watching videos and playing emulated games, and I can use various shaders to achieve an aesthetically satisfying approximation of how my retro games looked on CRT TVs. However, there are a number of reasons to use the real hardware instead of emulation, such as emulation accuracy deficiencies--which can render some games unplayable or unenjoyable--and/or latency concerns.

Sadly, modern displays like my HDTV make retro consoles look like absolute crap and can create/exacerbate latency issues, as they recognize the consoles' double-strike/"240p" signal as 480i(nterlaced)--and rightly so, since standard NTSC signals are always 480i regardless of how they're presented; the 240p standard was not created until decades later and even then it wasn't referring to the signal from retro consoles--and attempt to deinterlace them. This adds at least 1-2 frames (16-32 ms) of latency as the deinterlacer tries to combine 2 sets of fields to create a full picture, and that's before the signal even reaches the TV's upscaling circuit, which then adds even more latency (how much is added by the scaler can vary wildly from display to display).

To avoid this whole mess, we have a couple of options:

DIGITAL VS ANALOG

If you really want to use your big, digital HDTV but want to minimize latency, you'll want to sidestep the deinterlacing/slow-scaling issue by plugging your console into an external line-doubler/scaler. The cadillac in this area is the XRGB-Mini Framemeister, which is a Japanese import and costs an arm and a leg (about $475 at the time of this writing). This sexy lady will take your "240p" input, double the lines to a true progressive signal and then upscale it to an HD resolution that gets piped to your HDTV via HDMI, all essentially laglessly (it adds ~1.5 frames of latency according to Fudoh from the shmups forum). It will even add in a scanline effect, if you want. If, like me, you don't have $500 to piss away on this sort of thing--awesome as it may be--there are some cheap Chinese boxes that can handle the upscaling and deinterlacing (but not the scanline effect) at a slightly lower quality and substantially lower price. This seems like a good compromise to me, though the loss of scanlines is unfortunate. However, if your upscaler has a VGA output (like these) and your HDTV also has a VGA input, you can put a separate scanline generator, like the SLG-3000 or Toodles' T-SLG, in between and get close to the same quality as the XRGB-Mini for much cheaper.

Another consideration, though, is that the XRGB-Mini also accepts RGB/SCART signals (see the 'Analog Signals' section below for more details), while the cheaper models like the one linked above only accept composite and S-video. :(

UPDATE: I actually did purchase an XRGB-Mini recently and it's beautiful. I highly recommend it and think it's well-worth the money for an enthusiast.

It's also worth noting that any of these upscalers will give you an extremely sharp picture, similar to what you get from unfiltered emulation with nearest neighbor scaling (i.e., super-sharp/pointy pixel edges), so this option is ideal for the pixel fetishists out there but may not be desirable to old-schoolers who grew up playing on crappy little CRT TVs.

If you chose to go the digital route, congratulations: you're done! Your upscaler is providing you with the finest picture available. However, you might still want to read the rest of the information here, as some of it may be useful to you anyway, particularly the parts about analog signal quality.

Personally, those digital, super-sharp pixels never looked good to me. I'm a big fan of the way CRT TVs look and how they handle those low-res images, so I am/was forced to purchase an analog CRT. Even on an old analog display, though, we still want to keep our picture as nice as possible, which brings us to our next concern:

ANALOG SIGNALS

As far as analog signals are concerned, the top of the heap is RGB, meaning you get an isolated signal for each color, which provides a crisp, clear picture when they're all combined. Just below that is S-video, which separates the luma signal (brightness information only; produces a black and white picture) from the chroma (color; R, G and B all together) signal so they don't interfere with each other. Far below that we have composite--the familiar yellow RCA jacks--which combines chroma and luma into a single signal where interference between the two (known as chroma/luma "crosstalk") significantly degrades the picture. Slightly below composite(!), we have RF, which takes the signal and encodes it into the same format used in over-the-air broadcasts (and you know how good those tend to look...). You can compare how these signals differ in quality by loading up an emulator with Blargg's NTSC filter, which has presets to emulate RGB, S-video, composite and RF.

MATCHING INPUTS TO SIGNALS

In the USA, high-quality inputs, such as component and S-video, are not commonly found outside of large (24" and up), high-priced televisions, such as Sony's Wega line, so if you have a big house and plenty of room (and a strong back), you'll probably want to go for a real hoss of a TV with plenty of inputs. Sadly, most small CRT TVs have only coaxial/RF and *maybe* composite/RCA, which means your picture will always look pretty crummy. I lucked out and found an Apex 14" model with an integrated DVD player that also has S-video, which is good enough quality for me, so my retro consoles are now covered.

If--like me--you are satisfied with the quality of S-video and will only be hooking retro consoles up to your analog CRT, congratulations: you're done! If, however, you are a super-picky "videophile" and you think S-video is only fit for unwashed plebs and/or you want to hook your PC up to your CRT, there's more to consider:

THE MANY FACES OF RGB

Within the RGB family, there are about a million different subsets that each serve their own purpose. For TVs in the USA/NTSC world, we have "component" video (terrible, vague name, btw), which is also referred to by the color space it occupies, YPbPr. For PCs, we have VGA, which uses the familiar--typically blue--15-pin connector. For European/PAL-land TVs, we have 21-pin SCART.

Note: Europeans are lucky enough to have SCART as a standard input for CRT televisions, and many retro consoles--SNES, for example--can output this standard directly. This is a pure RGB signal and will provide the cleanest, most crisp analog picture around. HOWEVER!!, Japanese SCART (also known as JP-21 pin) and European SCART have a different pinout and, as such, are not compatible, even though they have the same connector. If you want to use a Japanese/NTSC JP-21 pin cable with a European/PAL TV with a Euro-SCART input, you will need a pin converter like this one. The aforementioned XRGB-Mini, as a Japanese device, does not require such a converter.

Aside from SCART, it's generally pretty difficult to get RGB from retro consoles, but it's usually possible if you're determined enough.

Now, even though all of these signals and connectors are technically RGB, they are incompatible with each other due to differing sync methods and signal frequencies, which means you'll need a display that is compatible with the signal and has jacks available. This brings us to:

15 KHZ VS 31 KHZ DISPLAYS

One of the major limiting factors in a CRT is the horizontal scan rate, which is the frequency at which a display can move the electron gun from the left side of the display to the right and back again. CRT monitors, like the kind you would find attached to a crummy old Packard Bell computer, have a high horiz. scan rate of 31 kHz, while NTSC TVs have a comparatively low scan rate of 15 kHz. Furthermore, devices that expect the high scan rate of 31 kHz displays and send a high-resolution signal are not compatible with--and can actually damage--displays with the lower scan rate if connected. On the other hand, 31 kHz monitors can be coaxed into displaying a "240p" signal using driver hacks like CRT_EmuDriver or xrandr and/or custom xorg.conf modelines (for some excellent info on getting 240p in Windows, see Monroe88's comments after the post). This will produce the highest-quality image possible with an emulator:


The drawback to this setup is that each system you want to emulate needs to render in exactly its native resolution or else it looks like shit, with misshapen pixels and inconsistent scrolling everywhere. The specialized Groovy Arcade distro automates some of this, but you may still have to use your monitor's hardware calibration controls to get the image to fit/center properly. I found the constant tweaking to be a tremendous pain in my ass and not really worth it.

If you're in linux, here's how you can force your monitor to act like an NTSC TV (type into a terminal from an X-session desktop):
xrandr -q
This will tell you which display you're using and which modes are available by default. My display was hooked up to DVI-0 via a DVI-to-VGA adapter.
xrandr --newmode "240p" 5.979 320 332 368 380 240 242 246 263 +CSync
xrandr --addmode DVI-0 240p
(replace DVI-0 with whatever your card reports)
xrandr --output DVI-0 --mode 240p
Some older video cards (like my Radeon X600 pictured below) for PCs will have an S-video output next to their conventional VGA and/or DVI outputs, which allows them to connect directly to a standard 15 kHz TV with S-video input:

This is very convenient, but it comes at a price: the card presents an 800x600 resolution to the PC and then crunches that down to 480i (that is, a standard NTSC signal), and it *cannot* be convinced to do anything else under any circumstances (AFAIK). This output looks pretty good, but it's not nearly as crisp as the VGA 240p 31 kHz image, obviously:
On the other hand, it is only slightly worse than a direct S-video connection from console to 15 kHz TV:
While S-video will always be slightly blurrier than RGB, the 15 kHz display is simply not capable of producing an image as high-quality as the 31 kHz display's due to its lower resolution and larger, chunkier phosphors. If you have a TV with component/YPbPr jacks, you can use a VGA-to-component transcoder box--like this one--to keep a clean RGB signal from your PC to the TV. Since it's a 'transcoder,' you shouldn't suffer any signal degradation, ideally.

UPDATE (11/14/14): Here's a pic of a PC hooked up to a 15 kHz display (an arcade monitor, to be specific) via RGB:
The photo kinda sucks and doesn't really do it justice, but you can see that the space between scanlines is much less pronounced vs the 31 kHz monitor. There's also no NTSC color changes like you see in the S-Video shots, for better or for worse. Anyway, back to the original post...

Sometimes you want to use your actual retro consoles rather than emulating on a PC--particularly in cases where emulation quality is still relatively poor, such as Sega Saturn or Dreamcast--but you still want to get the highest quality possible, which brings us to:

BROADCAST MONITORS

Broadcast monitors are high-resolution CRTs that were used by video professionals, such as broadcasters and video editors, to preview high-quality signals during the production process. They cost thousands of dollars new but are now cheap as dirt (relatively), since those professions have moved on to digital/HD signals and formats. Sony's PVM and BVM series of monitors are the most well-known and sought-after among retro gamers and, as such, often command a higher price than some similar products from other manufacturers. Nevertheless, the *VMs and other similar broadcast monitors tend to come with a variety of high-quality inputs, including one or more RGB equivalents (though often with separate sync, which can require conversion from, say, SCART). Another nice thing about these monitors is that they tend to come with nice, flat sides, unlike most TVs, which allows them to be rolled onto their sides easily for TATE mode games, like shooters.

Broadcast monitors are available in sizes up to 30" or so, though models that large are extremely hard to find and tend to be quite expensive, even now, due to their rarity. They are also very expensive to ship, due to their weight, which means many of the auctions on eBay are local-pickup-only (and tend to be in California...). The smaller models of 20" or less are much more common, and can usually be had for between $200 and $300 dollars at the time of this writing. A direct RGB connection from a console to one of these monitors should produce a picture as glorious as the aforementioned PC-VGA-to-240p-31-kHz setup, only without the hassles of modelines, hacked drivers, etc. Unfortunately, I don't have such a monitor, so I can't share any pictures :(

In the cases of either the 31 kHz or broadcast monitors, I personally find the image to be a bit sterile and actually prefer the 15 kHz option. I have opted to use the S-video-out on my video card for the convenience it provides, and the quality degradation is only about as bad as choosing bilinear vs nearest neighbor scaling in an emulator (i.e., fine for me, unbearable for perfectionists and pixel-lovers).

UPDATE (4/13/2015): I recently picked up a PVM 20M2U 20" monitor and posted some closeup shots on this page. The picture is indeed awesome and actually sits somewhere between regular SD/CGA displays and high-res 31 kHz monitors in "sterility" and how crisp the scanlines render.

Anyway, here are some more PC-VGA-to-240p-31-kHz pics :D



Good detail shot of the scanlines and the black gaps visible between.
This is what happens to SNES pseudo-hires transparency (bsnes) for some reason :/








Some other considerations that I will add to this post soon: CRTs for 480p and higher consoles (PS2, Dreamcast, 360, etc.), 31 kHz at 1024x768 (shaders vs the real thing), I plan to add a decision-making flowchart with approximate costs at some point, as well.
31 Mar 14:24

CSTB’s First MLS Related Post Of 2014 Sadly Doubles As An Oderus Urungus Tribute

by GC

I’ve not followed the ins and outs of Major League Soccer clearly enough the last several years to say with any authority whether the Saturday’s banner — paying tribute to the late Dave Brockie of GWAR — is a (classy) aberration on the part of DC United supporters or it’s the sort of thing they display on a regular basis. Either, extra points for the impalement of a San Jose player.

31 Mar 14:12

Other People's Pathologies

by Ta-Nehisi Coates
Taylor Swift

You may well have already seen this linked elsewhere this weekend, and justly so—it is absolutely worth reading, even if you've read other shares in this back-and-forth.

Over the past week or so, Jonathan Chait and I have enjoyed an ongoing debate over the rhetoric the president employs when addressing African Americans. Here is my initial installment, Chait's initial rebuttal, my subsequent reply, and Chait's latest riposte. Initially Chait argued that President Obama's habit of speaking about culture before black audiences was laudable because it would "urge positive habits and behavior" that are presumably found especially wanting in the black community.

Chait argued that this lack of sufficient "positive habits and behaviors" stemmed from cultural echoes of past harms, which now exist "independent" of white supremacy. Chait now concedes that this assertion is unsupportable and attempts to recast his original argument:

I attributed the enduring culture of poverty to the residue of slavery, terrorism, segregation, and continuing discrimination.

Not quite (my emphasis):

The argument is that structural conditions shape culture, and culture, in turn, can take on a life of its own independent of the forces that created it. It would be bizarre to imagine that centuries of slavery, followed by systematic terrorism, segregation, discrimination, a legacy wealth gap, and so on did not leave a cultural residue that itself became an impediment to success.

The phrase "culture of poverty" doesn't actually appear in Chait's original argument. Nor should it—the history he cites was experienced by all variety of African Americans, poor or not. Moreover, the majority of poor people in America have neither the experience of segregation nor slavery in their background. Chait is conflating two different things: black culture—which was shaped by, and requires, all the forces he named; and "a culture of poverty," which requires none of them.

That conflation undergirds his latest column. Chait paraphrases my argument that "there is no such thing as a culture of poverty." His evidence of this is quoting me attacking the "the notion that black culture is part of the problem." This evidence only works if you believe "black culture" and "a culture of poverty" are somehow interchangeable.

Making no effort to distinguish the two, Chait examines a piece I wrote in 2010 entitled "A Culture of Poverty" in which I sought to explain the difficulty of navigating culture in two different worlds—one in which "Thou shalt not be punked" was a commandment, and another where violence was best left to the authorities:

I think one can safely call that an element of a kind of street culture. It's also an element which—once one leaves the streets—is a great impediment. "I ain't no punk" may shield you from neighborhood violence. But it can not shield you from algebra, when your teacher tries to correct you. It can not shield you from losing hours, when your supervisor corrects your work. And it would not have shielded me from unemployment, after I cold-cocked a guy over a blog post.

Chait calls this one of the most "memorable essays" he's ever read. This is too kind—both to my writing and to his memory. Chait reads the piece as evidence of having "grown up around cultural norms that inhibited economic success." In fact, my behavior was the result of having grown up around cultural norms that enabled my survival. I said as much in the original piece:

The problem is that rarely do such critiques ask why anyone would embrace such values. Moreover, they tend to assume that there's something uniquely "black" about those values, and their the embrace. If you are a young person living in an environment where violence is frequent and random, the willingness to meet any hint of violence with yet more violence is a shield.

I repeated the same thing two years later:

Using the wrong tool for the job is a problem that extends beyond the dining room. The set of practices required for a young man to secure his safety on the streets of his troubled neighborhood are not the same as those required to place him on an honor roll, and these are not the same as the set of practices required to write the great American novel. The way to guide him through this transition is not to insult his native language.

And then again last May:

For black men like us, the feeling of having something to lose, beyond honor and face, is foreign. We grew up in communities—New York, Baltimore, Chicago—where the Code of the Streets was the first code we learned. Respect and reputation are everything there. These values are often denigrated by people who have never been punched in the face. But when you live around violence there is no opting out. A reputation for meeting violence with violence is a shield. That protection increases when you are part of a crew with that same mind-set. This is obviously not a public health solution, but within its context, the Code is logical. Outside of its context, the Code is ridiculous.

The point has obviously eluded Chait. Instead of considering that I may well have been responding to my actual lived circumstances, Chait chooses to assume that I was responding to some inscrutable call of the wild:

When the imprint of this culture was nearly strong enough to derail the career of a writer as brilliant as Coates, we are talking about a powerful force, indeed.

What's missed here is that the very culture Chait derides might well be the reason why I am sitting here debating him in the first place. That culture contained a variety of values and practices. "I ain't no punk" was one of them. "Know your history" was another. "Words are beautiful" was another still. The key is cultural dexterity—understanding when to emphasize which values, and when to employ which practices.

Chait endorses a blunter approach:

The circa-2008 Ta-Nehisi Coates was neither irresponsible nor immoral. Rather, he had grown up around cultural norms that inhibited economic success. People are the products of their environment. Environments are amenable to public policy. Some of the most successful anti-poverty initiatives, like the Harlem Children’s Zone or the KIPP schools, are designed around the premise that children raised in concentrated poverty need to be taught middle class norms.

No, they need to be taught that all norms are not transferable into all worlds. In my case, physical assertiveness might save you on the street but not beyond it. At the same time, other values are transferrable and highly useful. The "cultural norms" of my community also asserted that much of what my country believes about itself is a lie. In the spirit of Frederick Douglass, Ida B. Wells, and Malcolm X, it was my responsibility to live, prosper, and attack the lie. Those values saved me on the street, and they sustain me in this present moment.

People who take a strict binary view of culture ("culture of privilege = awesome; culture of poverty = fail") are afflicted by the provincialism of privilege and thus vastly underestimate the dynamism of the greater world. They extoll "middle-class values" to the ignorance and exclusion of all others. To understand, you must imagine what it means to confront algebra in the morning and "Shorty, can I see your bike?" in the afternoon. It's very nice to talk about "middle-class values" when that describes your small, limited world. But when your grandmother lives in one hood and your coworkers live another, you generally need something more than "middle-class values." You need to be bilingual.

In 2008, I was living in central Harlem, an area of New York whose demographics closely mirrored the demographics of my youth. The practices I brought to bear in that tent were not artifacts. I was not under a spell of pathology. I was employing the tools I used to navigate the everyday world I lived. It just so happened that the world in which I worked was different. As I said in that original piece, "There is nothing particularly black about this." I strongly suspect that white people who've grown up around entrenched poverty and violence will find that there are certain practices that safeguard them at home but not so much as they journey out. This point is erased if you believe that "black culture" is simply another way of saying "culture of poverty."

This elision is not particular to Chait. In the 1960s, when 20 percent of black children were found to be born out of wedlock, progressives went to war over the "tangle of pathologies" choking black America. Today, 30 percent of white children are being born out of wedlock. The reaction to this shift has been considerably more muted. This makes sense if you believe that pathology is something reserved for black people. When The New Republic wanted to dramatize the evils of AFDC, there was really no doubt about whose portrait they'd pick.

Accepting the premise that "black culture" and "a culture of poverty" are interchangeable also has the benefit of making the president's rhetoric much more understandable. One begins to get why the president would address a group of graduates from an elite black college on the tendency of young men in the black community to make "bad choices." Or why the president goes before black audiences and laments the fact that the proportion of single-parent households has doubled, and carry no such message to white audiences—despite the fact that single parenthood is growing fastest among whites. And you can understand how an initiative that began with the killing of a black boy who was not poor, and who had a loving father, becomes fuel for the assertion that "nothing keeps a young man out of trouble like a father." In his best work, Chait mercilessly dissects this kind of intellectual slipperiness. Now we find him applauding it and reifying it.

"Culture is hard, though not impossible, to quantify," writes Chait. "Which does not mean it doesn’t exist." Indeed. I have done my best to identify specific cultural practices and outline how they work in different worlds. Much of that evidence is built on memoir, and thus necessarily subject to an uncomfortable vagueness.

But quantifying the breadth and effect of white supremacy suffers no such drawbacks. Some of our most celebrated scholarship—Battle Cry of Freedom, Reconstruction, The Making of the Second Ghetto, The Warmth of Other Suns, At the Hands of Persons Unknown, Family Properties, Confederate Reckoning, Black Wealth/White Wealth, American Apartheid, Crabgrass Frontier, The Origins of the Urban Crisis, When and Where I Enter, When Affirmative Action Was White—is directed toward, with great specificity, outlining the reach and effects of white supremacy.

It is not wholly surprising that Barack Obama tends not to focus on this literature, whatever its merits. I do not expect the president of the United States to make a habit of speaking unvarnished and uncomfortable truths. (Though he is often brilliant when he does.) Of course removing white supremacy from the equation puts Barack Obama in the odd position of focusing on that which is hardest to evidence, while slighting that which is clearly known.

Jonathan Chait is not a politician. He needs neither to assemble a 60-vote majority nor worry about his words affecting the midterms. I'm happy that Chait decided to engage me here on a subject that he, himself, confesses is hard to quantify. I wish I'd had his input over the past few months when I was poring over redlining maps and grappling with the racism implicit in the New Deal. I wish I'd had his input when I was attempting to understand what it meant that in 1860 this country's most valuable asset was enslaved human beings. I think had we engaged each other then, he might well not have written something like this:

It is hard to explain how the United States has progressed from chattel slavery to emancipation to the end of lynching to the end of legal segregation to electing an African-American president if America has “rarely” been the ally of African-Americans and “often” its nemesis. It is one thing to notice the persistence of racism, quite another to interpret the history of black America as mainly one of continuity rather than mainly one of progress.

This certainly is a specimen of progress—much like the ill-tempered man might "progress" from shooting at his neighbors to clubbing them and then finally settle on simply robbing them. His victims, bloodied, beaten, and pilfered, might view his "progress" differently. Effectively Chait's rendition of history amounts to, "How can you say I have a history of violence given that I've repeatedly stopped pummeling you?"

Chait's jaunty and uplifting narrative flattens out the chaos of history under the cheerful rubric of American progress. The actual events are more complicated. It's true, for instance, that slavery was legal in the United States in 1860 and five years later it was not. That is because a clique of slaveholders greatly overestimated its own power and decided to go to war with its country. Had the Union soundly and quickly defeated the Confederacy, it's very likely that slavery would have remained. Instead the war dragged on, and the Union was forced to employ blacks in its ranks. The end result—total emancipation—was more a matter of military necessity than moral progress.

Our greatest president, assessing the contribution of black soldiers in 1864, understood this:

We can not spare the hundred and forty or fifty thousand now serving us as soldiers, seamen, and laborers. This is not a question of sentiment or taste, but one of physical force which may be measured and estimated as horse-power and steam-power are measured and estimated. Keep it and you can save the Union. Throw it away, and the Union goes with it.

The United States of America did not save black people; black people saved the United States of America. With that task complete, our "ally" proceeded to repay its debt to its black citizens by pretending they did not exist. In 1875, Mississippi's provisional governor, Adelbert Ames, watched as the majority-black state's nascent democracy "progressed" from terrorism to anarchy and then apartheid. Taking in regular reports of blacks being murdered, whipped, and intimidated by the Ku Klux Klan, Ames wrote the administration of President Ulysses Grant begging for aid. The Grant Administration declined:

The whole public are tired of these autumnal outbreaks in the South, and the great majority are ready now to condemn any interference on the part of the government.

A horrified and exasperated Ames told his wife that blacks in Mississippi

... are to be returned to a condition of serfdom—an era of second slavery .... The nation should have acted but it was “tired of the annual autumnal outbreaks in the South” .... The political death of the negro will forever release the nation from the weariness from such “political outbreaks.” You may think I exaggerate. Time will show you how accurate my statements are.

Ames was totally accurate. For the next century, the United States legitimized the overthrow of legal governments, the reduction of black people to forced laborers, and the complete alienation—at gunpoint—of black people in the South from the sphere of politics.

Chait's citation of the end of lynching as evidence of America serving as an "ally" is especially bizarre. The United States never passed anti-lynching legislation, a disgrace so great that it compelled the Senate to apologize—in 2005.

"There may be no other injustice in American history," said Louisiana Senator Mary Landrieu, "for which the Senate so uniquely bears responsibility." Even then, a half century after Emmett Till's murder, the sitting senators from Mississippi—the state with the most lynchings—declined to endorse the apology.

"You don't stick a knife in a man's back nine inches," said Malcolm X, "and then pull it out six inches and say you're making progress."

The notion that black America's long bloody journey was accomplished through frequent alliance with the United States is an assailant's-eye view of history. It takes no note of the fact that in 1860, most of this country's exports were derived from the forced labor of the people it was "allied" with. It takes no note of this country electing senators who, on the Senate floor, openly advocated domestic terrorism. It takes no note of what it means for a country to tolerate the majority of the people living in a state like Mississippi being denied the right to vote. It takes no note of what it means to exclude black people from the housing programs, from the GI Bills, that built the American middle class. Effectively it takes no serious note of African-American history, and thus no serious note of American history.

You see this in Chait's belief that he lives in a country "whose soaring ideals sat uncomfortably aside an often cruel reality." No. Those soaring ideals don't sit uncomfortably aside the reality but comfortably on top of it. The "cruel reality" made the "soaring ideals" possible.

From Daniel Walker Howe's Pulitzer Prize-winning What God Hath Wrought:

By giving the United States its leading export staple, the workers in the cotton fields enabled the country not only to buy manufactured goods from Europe but also to pay interest on its foreign debt and continue to import more capital to invest in transportation and industry. Much of Atlantic civilization in the nineteenth century was built on the back of the enslaved field hand.

From Edmund Morgan's foundational American Slavery, American Freedom:

In the republican way of thinking as Americans inherited it from England, slavery occupied a critical, if ambiguous, position: it was the primary evil that men sought to avoid for society as a whole by curbing monarchs and establishing republics. But it was also the solution to one of society’s most serious problems, the problem of the poor. Virginians could outdo English republicans as well as New England ones, partly because they had solved the problem: they had achieved a society in which most of the poor were enslaved.

White supremacy does not contradict American democracy—it birthed it, nurtured it, and financed it. That is our heritage. It was reinforced during 250 years of bondage. It was further reinforced during another century of Jim Crow. It was reinforced again when progressives erected an entire welfare state on the basis of black exclusion. It was reinforced again when the intellectual progeny of the same people who excluded black women from welfare turned around and inveighed against it through caricaturization of black women.

Jonathan Chait is arguably the sharpest political writer of his generation. If even he subscribes to a sophomoric feel-good rendering of his country's past, what does that say about the broader American imagination?

And none of this is even new:

The record is there for all to read. It resounds all over the world. It might as well be written in the sky. One wishes that–Americans—white Americans—would read, for their own sakes, this record and stop defending themselves against it. Only then will they be enabled to change their lives. The fact that they have not yet been able to do this—to face their history to change their lives—hideously menaces this country. Indeed, it menaces the entire world.

James Baldwin was not being cute here. If you can not bring yourself to grapple with that which literally built your capitol, then you are not truly grappling with your country. And if you are not truly grappling with your country, then your beliefs in its role in the greater world (exporter of democracy, for instance) are built on sand. Confronting the black experience means confronting the limits of America, and perhaps, humanity itself. That is the confrontation that graduates us out of the ranks of national cheerleading and into the school of hard students.

Chait thinks this view is "fatalistic." I think God is fatalistic. In the end, we all die. As do most societies. As do most states. As do most planets. If America is fatally flawed, if white supremacy does truly dog us until we are no more, all that means is that we were unexceptional, that we were not favored by God, that we were flawed—as are all things conceived by mortal man.

I find great peace in that. And I find great meaning in this struggle that was gifted to me by my people, that was gifted to me by culture.








31 Mar 02:51

Zippy The Chimp ~ 1953

by noreply@blogger.com (Mr. Door Tree)
Taylor Swift

Oh my god























30 Mar 15:23

GazettE Fan in Harajuku w/ AnkoROCK, Algonquins, Gramm & Furry Hat

by Street Snaps
Taylor Swift

AMAZING

This is Masaya, a 20-year-old company employee with red hair and a layered outfit. We see him around Harajuku quite often lately.

Masaya is wearing a floral coat from Algonquins over an AnkoROCK shirt and Gramm (by h.Naoto) skirt. His bag and boots (decorated with a silver chain) are also from AnkoROCK, which is his favorite shop. He accessorized with a furry red hat and a flower pinned to it.

Masaya told us he’s a fan of The GazettE.

Algonquins Floral Coat AnkoROCK Button Down Red Furry Hat & Floral Pin AnkoROCK Bag AnkoROCK Boots

Click on any photo to enlarge it.