Skids - Scared To Dance [Box Set]
2 hours ago
Thursday, 20 October 2011
Wednesday, 19 October 2011
It’s funny how fickle fame can be
The software is an operating system called Unix and the record of how it achieved its current unacknowledged dominance is one of the great untold stories of our time. It emerged from Bell Labs — the R&D facility of AT&T, the lightly regulated monopoly that ran the US telephone network for generations.
Dennis Ritchie and Ken Thompson were two bright Bell programmers who had been assigned to work with MIT on the design of a complex multi-user operating systemn - Multics. In the end, the plug was pulled on the project, with the result that Bell Labs found itself with two pissed-off hackers on its books. Back in the lab, Ritchie and Thompson decided that they would just have to build the operating system themselves. So, in a fantastic burst of creativity they wrote Unics. Inevitably the ‘cs’ became ‘x’ and Unix was born...
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Dennis Ritchie: The other man inside your iPhone who created Unix
Occupy Wall Street: Jesse Jackson Helps Save Medi-Tent from Cops
As the Occupy Wall Street movement readies for a march against police brutality today and another event for the same cause on Saturday, tense faceoffs continue.
Last night the Rev. Jesse Jackson Jr. arrived at the protests' central location downtown just in time to save the medical tent from potentially being evicted by the NYPD. Reports Gothamist:
Things got tense again for a moment at Zuccotti Park last night when the NYPD tried to take away the Occupy Wall Street medical tent (which is against the rules) before no less than Jesse Jackson showed up. Yup. Fresh from DC, the civil rights activist swooped in just before midnight and appears to have helped persuade the NYPD not to remove the tent just yet (the human chain around it probably didn't hurt either).
The NYPD, for its part, says that officers were just making an inquiry about the tent but that they did not demand its removal..
The NYPD isn't just in the spotlight for its treatment of protesters. At Colorlines, Jorge Rivas has the low-down on the latest racist policing scandal in New York--and it's quite horrifying...
Tuesday, 18 October 2011
tomwaits Tom Waits (ANTI-)
The new @tomwaits album ‘Bad As Me’ is streaming now, check your email or go here to request an invite: badasme.com
The Melanie Iglesias Flip Book
The Melanie Iglesias Flip Book is a stop motion video made up of approximately 2,000 photos featuring Melanie Iglesias changing into different outfits. Photographed by Michael Creagh in just one take. No photos have been retouched.
Via
Monday, 17 October 2011
From Dust To Dust (Burning Man 2011 Time Lapse)
(For prints and access to raw images signup at http://bit.ly/nWIisM)
From dust to dust, this time lapse covers over 5 weeks including the preparation of the event, from before the trash fence erection and after basically everyone except for DPW trickles out. Other than a few occasional pauses, the main event goes by at a rate of 3 hours every second.
Haruki Murakami: 'I took a gamble and survived'
1Q84, Haruki Murakami's new novel, is 1,000 pages long and is published in three volumes. It took the author three years to write and it is possible, on an 11-hour flight from New York to Honolulu, to get through about half of it. Murakami looks crestfallen on receipt of this news – the ratio of writing to reading time is never very encouraging for a writer – and yet if anything tests a novel's power to transport, it is reading it at the back of economy on a full flight over long haul. For those 11 hours, you disappear wholly into Murakami world.
We are in the presidential suite of the Hyatt, Waikiki, overlooking an ad-perfect beach framed by mountains. Murakami, who at 63 still looks like an adolescent skateboarder, divides his time between homes in Hawaii, Japan and a third venue he calls Over There. This is where he disappears every morning while writing his novels, a place populated by the kind of characters who have come to define the Murakami style: enigmatic, deadpan, full of big emotions sheared flat by repression and presented with a detachment that, unusually for a novelist who sells in the millions, has given him a cult-like status. Before I leave for Hawaii a friend confesses his enthusiasm for Murakami is partly based on a desire to be the kind of person who likes Murakami.
"I don't think of myself as an artist," says the author more than once in the interview. "I'm just a guy who can write. Yeah."
Murakami's cool benefits from an un-nerdy background running a jazz club in his 20s, and his equally un-nerdy Ironman routine. As he detailed recently in his memoir What I Talk About When I Talk About Running, Murakami rises at 4am on most mornings, writes until noon, spends the afternoon training for marathons and browsing through old record stores and turns in, with his wife, at 9pm. As a regime, it is almost as famous as his novels and has the clean, fanatical air of a correction to the mess of his 20s. It is also the kind of discipline necessary to crank out 1,000 complicated pages in three years.
To Murakami, built like a little bull, it's a question of strength. "It's physical. If you keep on writing for three years, every day, you should be strong. Of course you have to be strong mentally, also. But in the first place you have to be strong physically. That is a very important thing. Physically and mentally you have to be strong."
His habit of repetition, whether a stylistic tic or a side-effect of translation from the Japanese, has the effect of making everything Murakami says sound infinitely profound. He has written about the metaphorical importance of his running; that to complete an action every day sets a kind of karmic example for his writing. "Yes," he says. "Mmmmm." He makes a long contemplative sound. "I need strength because I have to open the door." He mimes heaving open a door. "Every day I go to my study and sit at my desk and put the computer on. At that moment, I have to open the door. It's a big, heavy door. You have to go into the Other Room. Metaphorically, of course. And you have to come back to this side of the room. And you have to shut the door. So it's literally physical strength to open and shut the door. So if I lose that strength, I cannot write a novel any more. I can write some short stories, but not a novel."
Is there an element of fear to overcome in those actions every morning?
"It's just routine," he says and laughs loudly. "It's kind of boring. It's a routine. But the routine is so important."
Because there's chaos within?
"Yeah. I go to my subconsciousness. I have to go into that chaos. But the act of going and coming back is kind of routine. You have to be practical. So every time I say, if you want to write a novel you have to be practical, people get bored. They are disappointed." He laughs again. "They are expecting a more dynamic, creative, artistic thing to say. What I want to say is: you have to be practical..."
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Emma Brockes @'The Guardian'
ioerror Jacob Appelbaum
The United States is a fascist police state; it used to be hyperbole to say but now we can cite issue after issue to support that statement.
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