This one is for you Rexy boy!
W/ love XXX
Revolting Cocks – Crackin’ Up (12″)
57 minutes ago
Friday, 6 August 2010
Last night on Earth...(sad)
We have had (Nervous) Rex for 18 of his 19 years and he is going to be sadly missed...
the best dog ever!
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Does kicking someone in the balls improve viral advertising?
The use of comedic violence in viral advertising is becoming widespread, but as yet no examination of what influence it may have on consumer response has been undertaken. Two experimental studies using a commercial panel sample investigate the effects of this executional cue on ad message involvement, brand memorability, likelihood of being passed on to third parties, and attitude formation. Results suggest that humorous ads that combine higher levels of violence intensity with more severe consequences appear to elicit greater involvement with the ad message, better retention of brand information, higher pass-along probability, and greater ad likability. Attitudes toward the brand remain unaffected. Furthermore, justification for the violence and relatedness to the product brand appear to be important considerations when using high intensity-severe consequence comedic violence. The paper specifies conditions under which advertisers can expect to gain maximum impact when using violent humor in viral advertising campaigns.
Source: "The Impact of Comedic Violence on Viral Advertising Effectiveness" from Journal of Advertising, Volume 39, Number 1 / Spring 2010, Pages: 49 - 66
MMFlint
Verizon & Google on Monday plan 2 announce the end of the Internet as we know it. "Free" & "fair" are the two dirtiest words in capitalism.
The End of The Internet as We Know It?
Thursday, 5 August 2010
Harold Chapman's best shot
Beat generation … Peter Orlovsky and Allen Ginsberg in Paris's Place St Germain-des-Prés in 1956 Photograph: Harold Chapman
It was 1956, and I was working in a crummy nightclub in London, waiting on tables, collecting dishes, trying to take photographs. I overheard all these conversations about how fantastic Paris was – "That's where it's at, man," everybody said.
So I hitchhiked there, planning to photograph everything in Paris for a book; a ridiculous ambition – it would have been the size of four telephone directories. At a bookshop called the Mistral, I found the address of the Beat Hotel – though it wasn't called that then. It was just a 13th-class hotel, absolutely rock-bottom quality, at 9 Rue Git-Le Coeur that everybody told me was full of crazy people: poets, artists, writers.
I lived there until 1963, taking photographs with my ancient Compax camera, which I'd picked up in a junkshop. I would pile a load of coats on top of my bed, and dive under them with my developing tank. Then I developed the photographs in the wash basin, and hung the films out to dry with coat-pegs on a piece of string. It was a very haphazard method, and I lost a lot of great photographs to it; but my philosophy has always been to save what is good, and forget what is lost.
Among the many writers I photographed were Allen Ginsberg and his partner Peter Orlovsky. One winter day in 1957, they took me for a walk: Ginsberg translated the French street names for me and pointed out the beauty of the architecture. In the Place St-Germain-des-Prés, they decided to sit down on this double-sided bench. I took this picture, just one frame. (I was very economical – film was very expensive.)
Ginsberg and Orlovsky had just moved to Paris, after all the aggravation surrounding the obscenity trial of Ginsberg's Howl. He has this smile of wonderment on his face, as if he's looking into the future, thinking of the voyages around the world he's going to make, the poems he's going to write. Orlovsky has a look of angst. Pessimism and optimism make the perfect balance for a couple to live together – which they did, on and off, for many years.
From the Beat generation, I learned that I could just do anything: they had broken all the rules. I didn't need to worry about composition or anything like that. I based the rest of my life on that understanding. People used to say: "You're crazy – you'll never sell those photographs." But The Beat Hotel has become a cult book. One copy sold several years ago for almost $2,000. So I had the last laugh.
CV
Born: Deal, Kent; 1927.
Studied: "I've had no education whatsoever: I successfully ran away from every school I ever went to. I studied photography just by doing it."
Influences: "The French street photographers – Cartier-Bresson, Doisneau, Willy Ronis. And Bill Brandt, for his fantastic contrasts."
Top tip: "I can only repeat the advice that Cartier-Bresson once gave me, 'Be honest to your subjectivity.'"
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