jess3 blogs,

about Family Chicken Feud Turns to Gun Battle



BLUEWELL, West Virgina (AP) -- A family meal erupted into a gun battle after a father and son clashed over how to cook chicken.

The two men argued Sunday over the best way to prepare skinless chicken for dinner.

"It started out as a physical confrontation, but it escalated until both of them were shooting at each other,"

-Detective Sgt. A.D. Beasley
Mercer County Sheriff's Department said Monday.


Beasley said each man fired a .22-caliber handgun at the other. Harley Shrader was struck by a bullet that went through the upper part of his right ear and lodged in the back of his head. He was treated at a hospital and released. The elder Shrader was not injured.


Jackie Lee Shrader, 49, was charged with malicious wounding and wanton endangerment. Harley Lee Shrader, 24, was charged with wanton endangerment.

about Roger Black on



Medium may be new but principles don't change

By Jeremy Schlosberg

As the traditional media world continues to wonder how to integrate with the web, at least one thing is becoming clear. The internet is not quite so revolutionary as to require media companies to throw out everything they once knew about content and design. So argues Roger Black. Black made a name for himself in the ‘70s and ‘80s at the design helm of some of the country’s most prestigious magazines, including Esquire, Rolling Stone and Newsweek, back in the days when content was called editorial and editorial was considered important. When the web was born in the early ‘90s, Black, sensing much opportunity, launched a web site design firm called Interactive Bureau in 1994. Among his major online clients: Discovery Channel Online, MSNBC and USA Today. Black's recent print clients include the San Francisco Examiner, Entrepreneur, Editor & Publisher and Reader's Digest. Interactive Bureau was purchased by web services company Circle.com in 1999, at which point Black became its chief operating officer. Last month, Black left Circle.com to co-found Danilo Black Inc. with Mexican designer Eduardo Danilo. The new company aims to offer content, design and technology strategy for media companies that operate across the platforms of print, broadcast and internet.



What is the real purpose of design when it comes to a web site? Are they supposed to be easy to navigate? Are they just supposed to look pretty?

I think we are now far enough into the use of the web that we can understand some of the behavior of the users and design to it.
The No. 1 fact is that people are looking for one thing usually. In a magazine people are browsing. On the web people are looking for what I call an information transaction, which might or might not involve buying something.
So your job as a designer on a web site is to open a clear path for people to their objective. Which sounds easy enough. But the fact is most web sites are trying to offer more than one thing, often a lot more than one thing.
And then there’s also the problem that people don’t all behave the same way. So you have to somehow design a way for people to easily find things in a clutter of other things.
And you have to provide different paths of navigation and access so they can go the way they like to go. Some people like to use search, some use the navigation bar on the web, some people like the drop-down menus. And some people like to thrash around aimlessly, or what appears to be aimlessly.



Lots of sites seem to think the answer is to clutter the screen with lots of information. Is this a good idea?

Most web sites suffer from providing too much information. There’s a tension in web site design between recommending things you want people to see and leading them along, and letting them decide for themselves.
Now I tend to work on sites that have an editorial bent of some kind. That’s why people come to me. So maybe that colors my point of view. But as far as I’m concerned, editorial is based on the word "edit," which by definition means to boil down, to reduce, to choose.
Web sites should make some choices for people. That doesn’t mean you eliminate all the other stuff you have. But you bring the content to the surface so people can find something immediately.
As you go through you want them to get some things almost inadvertently, rather than having a series of navigational spaces that they have to click through before they actually get something.
Why not put some content on every screen? Give them some value.
There is a certain amount of satisfaction that people get when they get lost on the net and then discover things they didn’t mean to find. In fact I think the entertainment value of the web has a lot to do with the unexpected stuff you find. You go to Google and they give you some wacky unexpected thing. And you get lost, and a half hour has passed.
Who’s to say that’s worse than watching some dumb TV show?
In school everybody at one time or another found themselves wandering through the library or the card catalog, or going through the encyclopedia at home, and just getting lost.
There is something entertaining in that; it’s just sort of fun. And we don’t do that much when we grow up. But on the internet that’s what people do. I mean, just going through the stuff people sell on eBay can be pretty entertaining.



But isn’t it easy for a site with a lot of information to end up looking like some cheesy sort of information flea market?

Yes, the danger on the web is that information can easily look junky and unreliable, which will make people think they can’t trust any of it. That’s another reason to have an editorial hand in there.



How does a web site create a sense of reliability and authority? Is this a matter of design?

I’ve always found that the big sites always look big. Whatever you want to say about Yahoo, it really is pretty well polished. It looks authoritative.
In graphic design there’s a lot of type and there are a lot of words involved. The link between the type and the design and the meaning is a key part of what we’re doing.
Every single word you put on your screen creates a sense of what you’re trying to project, even things like what you name a button.
I think people grasp pretty quickly when a web site knows what it’s doing. It has to do with the appropriateness of the language, the clarity of the language.
And a lot of it is just the type—having a variety of fonts and different sizes. There’re a lot of signals about professionalism versus amateurism with web sites. For instance, a more amateurish site may have only one font.
We forget how sophisticated people really are. They have a nose for this stuff. People have no problem differentiating between editorial and advertising.
They have no problem telling spam in their email box.
How fast did that take? It was amazing. Spam detectors are built into everyone now, it seemed to take no time at all.



In print a reader knows where he or she is through obvious physical clues—you know you’re in the front of a magazine because you can literally see where you are. Can a web site create this same sense of location for its users?

There’s something reassuring about knowing where you are in a book. A lot of web producers will put site maps on their sites, as if people are even going to use the site in a linear way in the first place.
We quickly found that once they’re two or three pages into a site, people don’t know where they are any more.
I think that the constant reminder of some navigational order helps people in a way. One way of telling a professional site is that the navigation remains constant--those buttons will stay with you, they won’t change place or look from page to page.
But that’s about all we’ve got. There’s no GPS for the web.



How relevant to the web are design guidelines and design ideas from older media?

The medium may be new but human nature is still human nature. I once saw a quote from a competitor of ours who said something like, "We don’t use any references to traditional design on the web because it’s an entirely new medium."
I think that’s nonsense. It’s not a question of saying traditional or linear design models are useless on the web.
The human being is the same. Evolution isn’t going to change human beings because the internet came along. Not that quickly anyway. We’re not going to mutate before we get to our next deadline.
So I think design from other media is completely applicable to the web. Typography and the way people read are important. There’s a reason why navigation bars are on the left—when people read they start on the left. All the things we’ve already learned about how people think are very useful.
The internet is simply an artifact of culture. It is the thing being transformed by humans. The internet is not transforming human nature. Older models would not have succeeded if they didn’t relate to how people liked to do things.
That’s not to say the web isn’t fun and different in its own way. We’re in a stage now where we can also put motion graphics and video in, where we obviously can’t do that in print. So maybe there are other metaphors that can be used from radio or television or film that would also be useful.



Things have turned ugly for people who thought the road to heaven was paved with ad-supported content sites. What’s your perspective on the matter as a designer of content?

I think what we’re paying for is that the financial model for many sites was an entirely market-based model.
Venture capitalists got into this business hoping to make a killing in the market. And they created a lot of things with that as the goal, rather than the goal of creating a profitable business.
I think what happened is we had a lot of people rush into the internet as they would to a gold rush, thinking that if they got their stake in, there would be an enormous upside. The market believed growth was essential and getting there early was rewarded. And all of us responded to that.
Now the market’s turned and people are realizing that profit is important and that the seemingly old-fashioned ideas of what businesses are worth investing in and what aren’t haven’t changed.
Of course the smart people knew that all along. But as the dust has settled we’ve discovered that we don’t really know what the business model is for content sites on the web.
These things just don’t seem to make a lot of money. We should’ve known that earlier. If it’s advertising supported like most magazines or newspapers—well, there’s a fundamental supply and demand issue in publishing and broadcasting too.
Ultimately there’s a scarcity of space and time. On the internet we don’t have any scarcity. So it was only a matter of time before advertisers woke up and said, "Why would I pay you for this?" Or, "Why would I pay you this much?"
Media buyers were part of the problem in the misapprehension that happened. They’re the people who believed that this was a new advertising medium. What this is is a new communications medium.
It’s like the telephone. The telephone has turned out to be a wonderful marketing tool. One-on-one, it’s fabulous.
If we can think about advertising in that kind of context we’re going to be in better shape.
What you’re finding in your own site is a key: if you provide useful, reliable content that’s relatively interesting, you can create a communication link with people that’s very important to advertisers and ultimately to commerce.
What you’re talking about here gets back to old advertising principles: the quality of the attention you have is the key. If you make it interesting, you get them to come back, you create a relationship that the advertiser benefits from. That credibility thing rubs off on the advertiser.
The antidote to the bad news, that we have an infinite inventory of ad space on the web, is the good news that we can actually find the customers we’re looking for and we can track their behavior.

There’s that famous quote about advertising, the one that says we all know half of the money spent on advertising is wasted; the problem is, we don’t know which half.

That’s the thing about the web, at least potentially: now we can know which half works. And that’s a wonderful thing to be able to know.


So, three guys are watching TV.

One turns on Jay Leno. One tunes into David Letterman. And the other watches Jon Stewart.

Who's better informed politically?

In a recent survey, viewers of Stewart's "The Daily Show" on Comedy Central tested better than Letterman and Leno viewers on a six-question politics quiz.

Take the quiz
(How do you stack up? Take the quiz and compare your score.)

Viewers of all three shows know more about the background of presidential candidates and their positions on issues than people who don't watch late-night TV.

On top of that, "Daily Show" viewers know more about election issues than people who regularly read newspapers or watch television news, according to the National Annenberg Election Survey. (Pop quiz)

Dannagal Goldthwaite Young, a senior research analyst at the Annenberg Public Policy Center of the University of Pennsylvania, said "Daily Show" viewers came out on top "even when education, party identification, following politics, watching cable news, receiving campaign information online, age and gender are taken into consideration."

The quiz was given to 19,013 adults between July 15 and September 19.

The quiz included these questions:

"Who favors allowing workers to invest some of their Social Security contributions in the stock market?" Answer: Bush.

"Who urges Congress to extend the federal law banning assault weapons?" Answer: Kerry.

While viewers of NBC's "The Tonight Show" and CBS' "The Late Show" scored better than the general public, Stewart's fans came out on top.

Forty-nine percent of Leno and Letterman viewers got a perfect score on the quiz.

But 60 percent of "Daily Show" viewers answered all six questions correctly.

Just 42 percent of those who read a newspaper four days a week aced the test. Only 40 percent of those who watch network news four days a week got every answer right.

Comedy Central was waiting for news like this. On September 17, Stewart appeared on Bill O'Reilly's "The O'Reilly Factor" only to be told his viewers are "stoned slackers" and "dopey kids."

"You know what's really frightening?" O'Reilly asked Stewart. " You actually have an influence on this presidential election. That is scary, but it's true."

Comedy Central used its viewers' test scores Tuesday to strike back at Fox News Channel and O'Reilly's viewers.

It also trotted out stats from Nielsen Media Research to show that Stewart's viewers are not only smart, but more educated than O'Reilly's.

"Daily Show" viewers are 78 percent more likely than the average adult to have four or more years of college education, while O'Reilly's audience is only 24 percent more likely to have that much schooling.

Plus, the network noted, "Daily Show" viewers are 26 percent more likely to have a household income more than $100,000, while O'Reilly's audience is only 11 percent more likely to make that much money.

So the guy watching Stewart may not only be smart, but may also be rich.




RJD2 is playing at the Black Cat Sep 29. for 12$.

its gonna be soo hot

RJD2
BLACK CAT
1811 14TH ST., N.W.
DOORS OPEN AT 8:30PM
12$

* * *
WED SEP 29, 2004




RJD2 BIO
On his breakout solo debut, Dead Ringer, Rjd2 sent listeners on a musical foray into instrumentalism, feasting on styles both old and new, and in the process creating a sound that's emerging as one of the most interesting and exciting new voices in instrumental music. In a genre filled with ambient spacemen and droning techno fromage, Rjd2 brought a sense of song structure and vitality that was sorely missing, evening harkening back to when instrumental groups like Booker T. and the MG‚s got radio play (not a joke). And the accolades rolled in. From industry luminaries like Chris Blackwell, to members of Radiohead and The Strokes, to ?uestlove of The Roots (who nominated Dead Ringer for the prestigious Short List awards in 2003), to Dj Shadow, Rj soon became a favorite of those in-the-know. Dead Ringer was an incredible success globally, appearing on many a year-end list, including Spin's Top 40 Albums of 2002. In '03, he followed up the success of his debut with The Horror, an EP of B-sides that played closer to an entirely new album than a collection of leftovers, and cemented Rjd2 as one of music's most talked about new artists. Touring from Japan to Amsterdam, Rj caught wreck with a dizzying 4-turntable reconstruction of the album for fans worldwide, sharing the stage with the likes of DJ Shadow, El-P and the Def Jux crew, David Lynch, The Roots and Prefuse 73.

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While Rj soon became the name to drop in hipster circles, he made his bones in the underground, playing a major role in that mid-west power surge better know as Columbus hip hop. After setting it of in 1998 with the Mhz crew on Bobbito Garcia's legendary Fondle Em Records, he caught the attention of El-P and in 2000, he locked in with the Definitive Jux camp and soon made his DJX debut on Def Jux Presents I, co-starring with Company Flow, Cannibal Ox and Aesop Rock. Then came the now classic "Good Times" white label 12-inch and the rest has been indie hip hop history. Over the past few years, Rj's profile as a producer has grown immensely as he's clocked time on the boards producing or remixing Mos Def, Massive Attack, El-P, Aceyalone, Polyphonic Spree, Elbow, Cannibal Ox, and others, wielding a versatility rarely seen in music today. His prolific nature has brought him the unique accolade of 'freelance producer/remixer extraordinaire' in Urb Magazine's Best of 2003 issue, amongst others. As one half of the duo Soul Position, he's the ultimate team player, taking a back seat to his MC, Blueprint, and letting him do the talking, while RJ's music keeps the heads nodding. Their 8 Million Stories LP was received in 2003 to rave reviews and continues to nod, and turn, heads.

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2004 brings a new, self-titled album, a more focused and cohesive effort than Dead Ringer, while still maintaining the vitality and soulfulness that made is debut so enjoyable. Like a modern day Quincy Jones in the abstract, RJ truly orchestrated his new record, creating a multitude of new songs from all angles, writing music and lyrics, arranging vocals and melodies, auditioning singers and even experimenting with a vocoder. He cut out any fat or filler, and in an industry virtually afloat on the concept of the guest appearance, the album features none. Its strength instead lies in the meticulous programming, lush instrumentation and solid song arrangements. In many ways, an artist's sophomore album is when their true colors are shown (or exposed), and when their real career begins (or begins to end). In the words of Jimmy Castor, its just begun.


How blue staters and red staters can learn to communicate and do business.
From: Inc. Magazine, October 2004 | Page 148 By: Adam Hanft Illustrations by: Jorge Colombo

Several years ago, I was in Berkeley, Calif., dining with a client at Chez Panisse, the legendary restaurant founded by Alice Waters, the patron saint of California cuisine. At Chez Panisse, you eat what they give you -- there's a single daily menu based on what's fresh in the market. That day, the bounty included squab. Now, my client wasn't what you'd call a foodie -- he would have been just as happy at Sizzler. So he turned to me, somewhat anxiously, and asked, "What's squab?" I couldn't help myself: I became a pretentious jerk. I told him about squab, then I went on to discuss the relative merits of quail, grouse, and other small game birds. I knew at that moment that I had lost a client.

I've been thinking about that incident these days, thanks to the incessant noise the media is making about the fact that we have become two Americas -- the red states and the blue states. While much has been made of the political and cultural implications of this divide, not enough attention has been paid to what it means for doing business.

Bridging these cultural and political gaps is more of a challenge than most executives realize, especially when it comes to establishing and nurturing the emotional connections that are at the heart of so many lasting and productive business relationships. When an executive in San Francisco tries to win a client in Kansas City, or a Kansan attempts to make a deal with a Californian, the click is harder to achieve. There's an unspoken values clash. Indeed, such chasms are almost as prevalent within single states, or even cities. "There are neighborhoods in Manhattan that are more similar to Milan than to Brooklyn," Michael J. Weiss writes in The Clustered World: How We Live, What We Buy, and What It All Means About Who We Are . "The yuppie on the Upper East Side has more in common with a yuppie in Stockholm than with a downscale person in Brooklyn."

The fact that there are (at least) two business cultures in America may seem obvious, but we sure don't act as if it is. We are creatures of our cultural milieu in ways we don't even realize. Blue America drops references to episodes of Curb Your Enthusiasm as if they are national cultural currency. I've seen the blank stares that result. While it may seem as if all your friends are watching it, the HBO comedy has a relatively small audience, a fraction of the millions of Americans who have read, say, one of the Left Behind series of Christian apocalyptic novels. If a retailer in St. Louis brings up Glorious Appearing with a Seattle-based manufacturer's rep, it's likely to resemble one of my squab moments. One friend of mine, for example, has been mocked by a client ever since she asked for Earl Grey tea at a meeting in the Rio Grande Valley.

So excuse me while I make some statements sure to inflame people nationwide. In blue state meetings everyone seems to curse, while in red state meetings people say "friggin'." Blue state businesspeople are profligate smudgers of the work-life boundary, while in my experience red staters are much more protective of their family time. Blue staters tend to be provocative -- they pride themselves on shaking up a meeting by saying something outrageous, while red staters are more respectful of hierarchy and tradition.

Of course, I'm generalizing. But I'll bet that people who do business across America will agree that I'm not too far from the truth. How can we be more successful at navigating this tricky territory? There's no easy answer, but it helps to drop your well-crafted self-identity when you get on the airplane -- not to pander, but to recognize differences without stereotyping. It's hard but not impossible to understand the place in which you're doing business. If you're a blue stater, go online and read The Kansas City Star . If you're a red stater, subscribe to New York magazine.

We all seem to know about the Japanese custom of exchanging business cards. But how many Manhattanites know that in areas throughout the country, businesses close down on the first day of hunting season? Perhaps some enterprising writer will turn this into an idea for a book. And why not? It's easy to find titles like The New Silk Road: Secrets of Business Success in China Today and Hidden Differences: Doing Business With the Japanese . Where is, say, Succeeding in Rotary Club Territory or Mastering the Los Angeles Business Tradition ? After all, just because you don't need a passport to get somewhere doesn't mean you're in familiar territory.

Adam Hanft is founder and CEO of Hanft Unlimited, a Manhattan-based consulting, advertising, and publishing firm.

about Paris Hilton is Veronica Mars



Paris Hilton's next role won't be much of a stretch. The next time you see the heiress on television, she'll be playing a snotty but wealthy high school socialite.

Hilton guests on the second episode of the new teen drama "Veronica Mars," which follows a modern-day Nancy Drew, who is on a mission to solve a murder mystery involving her late best friend, and in so doing, uncovers the dark side of her wealthy seaside community. The show premiered last week on UPN, and Hilton appears in the second episode, airing Tuesday at 9 p.m. (A second run of the program will air on MTV, starting October 19 at 7 p.m.)

"I play this girl named Caitlin, and I'm dating Logan, who's the cool guy in school, and we're, like, the 'it' couple," Hilton said. "And I'm doing a little bit of cheating with somebody."

That's not all the title-character suspects Caitlin of — there's also a case of identity fraud at stake, since a friend has been wrongfully arrested for stealing credit card applications from Logan's family. Uncovering the truth, though, might make Veronica Mars (played by Kristen Bell) even more of an outsider than she already is.

"It's not told from the perspective of a popular girl," Bell said. "That's what Veronica used to be, but now she's on the low end of the social totem pole. That's what 90 percent of the kids in America can relate to. It's very real."

Though this juxtaposition of the haves versus the have-nots — with the have-nots becoming the heroes — ends up making Hilton's character more of a villain, she doesn't mind. Unlike that 90 percent of the kids of America, "I was definitely not a nerd [growing up]," she said. "No, I was always cool."

Hilton's "Veronica Mars" guest appearance is just the latest in a string of TV cameos.

"I was on 'Las Vegas,' playing a girl who's really just in love with money. Trust me, I got the joke," she wrote in her recent autobiography, "Confessions of an Heiress." "I also shot an episode of 'The O.C.' ... I played a model/actress who was getting her master's degree in literature. She didn't want her friends to know she was a bookworm. I also did a guest shot on 'George Lopez.' I played his son's tutor. It was my biggest TV role."

Hilton is currently shooting her first lead role for the big screen, in "National Lampoon's Pledge This!" She plays the snooty president of an exclusive sorority.


Eminem blasts US President George W Bush in his new, politically-charged album.

Retailers in Los Angeles have been treated to previews of Encore - which has been produced by hip hop mogul DR Dre - and claim Eminem makes no secret of his feelings towards Bush.

One says, "The cuts we heard were very political. Eminem's distaste for the Bush administration is pretty clear."

Longtime collaborator Dre and 50 Cent both appear on the Lp, which is tipped by retailers to sell over one million copies in its first week.


Just suppose that you woke up one Sunday morning and there was a zombie in your back yard. What would you do?

Would you run inside and grab a video camera in hopes of breaking into reality television? Or would you fire up the chainsaw and show the undead who's boss?

That's exactly what British screenwriter/actor Simon Pegg and director Edgar Wright, who co-wrote the romantic comedy/horror flick "Shaun of the Dead," (which hits theaters Friday) wondered. They opted for a variation of the latter option: When the main character, Shaun, discovers listless, pulse-less, guts-craving creatures in his back yard, he and his friend Ed decide to slice off their groaning heads with the best weapons they could find — Shaun's record collection. The first casualty? The "Batman" soundtrack. (Sorry, Bruce Wayne).

The concept for "Shaun" was inspired by a zombie scene in "Spaced," a popular British comedy about 20-something slackers that Pegg and Wright worked on in 1999. Both men are huge fans of the original zombie-master, director George A. Romero, who gave the dead their big shot at fame in 1968 with the horror classic "Night of the Living Dead."

"Me and Simon are big fans of zombie films," said Wright, who wrote the script with Pegg in just eight weeks. But Pegg and Wright's zombies are not the rabid-dog-like creatures found in modern-day zombie films like "28 Days Later." Instead, Shaun's dead pay tribute to the original "Dawn of the Dead" with their sluggishness and comical moaning. "Imagine your organs and muscles decaying as you walk," Pegg said. "They're like lava. [Zombies are] almost sympathetic, in a way: They do not have a moral agenda, they just feed and breed. That's all they do." In what might be the funniest scene in the film, Shaun and his friends pretend to be zombies by moaning and meandering their way to safety through the mass of undead.

It's also no mistake that Shaun and his slacker buddy Ed's apathy mirrors the zombies' torpor (and, thanks to hours of indoor video-game playing, their pallor too). Shaun is stuck in a rut professionally, his girlfriend is ready to hand him his pink slip, and Ed's social graces basically render him unemployable. Pouring these elements into the script was easy for Wright, who has had similar experiences. "I remember during the foot-and-mouth [epidemic] in the U.K., I hadn't read the papers or watched the news for, like, two weeks, and the first thing I saw [on] TV was piles of cows burning and I didn't know what it was about," he said. "I felt like such an idiot! That sort of informed the film. I thought, it's plausible that the world could be ending and these two guys could be the last to know. And in some respects, I think Shaun was a 90-minute apology for [me] being a lousy boyfriend."

Naturally, other parts of Wright and Pegg's lives seeped into the film. "There are some moments when there was no acting required," Pegg said. The two main characters, Shaun (played by Pegg) and Ed (played by "Spaced" actor Nick Frost) are actually on-screen versions of Pegg and Wright, respectively. So when Shaun's girlfriend Liz complains about the fact that their sole activity is hanging at the local pub, "That is, in some respects, me talking to Simon and Nick because they always used to go to the same bar all the time," Wright said.

"Edgar was always trying to get us to go somewhere else," Pegg said. "When I was writing [the script], I wanted to represent this pub that I love so much." The beloved pub eventually becomes a safe haven for Shaun and Ed, and the location for the final showdown between the humans and the zombies.

Music also played a big role in the film. Wright, who is a big fan of Prince and Queen, suggested that the soundtrack for Shaun's final duel with the zombies should be Queen's "Don't Stop Me Now." "We had kind of a mixtape of songs we wanted to use before the film was made," said Pegg, who pleaded that Shaun and Ed not hurl a Stone Roses LP at the salivating undead. But albums by Prince and Sade were not as lucky. "We love using Sade as a weapon," Pegg laughed. And when it came time to film the scene, Shaun and Ed had to watch out for more than bloodthirsty zombies — they had to be careful not to show all of the album covers on screen. "Only Sade and New Order gave us permission to show the cover," he said.

Though it is uncertain how "Shaun" will play to fans of straight-ahead zombie flicks, it's drawing attention for pioneering what Pegg and Wright like to call "rom-zom-com" (romantic zombie comedy). "The film is a romantic comedy," says Pegg, "And people always think it's a romantic comedy about Shaun and Liz; it's not. It's a romantic comedy about Ed and Shaun."

"We wanted it to dawn on you, as the film goes, that it's a romantic comedy and a zombie film, going in parallel," said Wright. "In that sense, I hope that makes the viewing experience more of a full meal." Want guts with that?



Playing like a video coffee table book displaying some of the man’s most notorious work, “Arakimentari” introduces us to the life and work of famed Japanese photographer Nobuyoshi Araki who, for 40 years, has been blending art with pornography in his photographs that many regard as the most lucious erotic photos ever taken.

When we meet the 62-year-old Araki, he’s busy conducting a photo shoot with an aerobics instructor who, unbeknownst to her husband, has decided to pose for nude pictures taken by the legendary photographer. He jumps about his studio, grunting and laughing as he snaps his pictures, poking and prodding playfully at his subject and ultimately getting her to relax and open up to him due to his zany behavior that isn’t unlike that of a young, devilish boy. At first, some may think that Araki is just an immature pervert that has somehow charmed his way into this career that lets him ogle naked women on a regular basis and, according to Araki himself, sleep with almost every single one of them – an abuser of women and an all-around pig. But as the documentary unfolds and we learn more about Araki - listening to his philosophy as well as interview footage with Richard Kern, Bjork and fellow photographers – we find that in fact he holds women in higher regard than men. After all, every man has come out of a woman so, as he puts it – how can you beat that?

The film’s also jam packed with Araki’s work, set to the beat of an amazing DJ Krush soundtrack composed specifically for the documentary. After seeing these images you’ll be hard pressed to see the man as a hack with a hard on and a camera. Filmmaker Travis Klose does his best to showcase Araki, a man who he obviously admires, in the best light possible and he succeeds. Araki is a major talent and a truly unique character to be reckoned with.

Up Araki! May many more years of boobs and bondage lie ahead for you.

arakimentari.com


American consumers are snapping up action figures of Osama Bin Laden and US President George W Bush.

About 5,000 dolls have been sold on the US-based internet site herobuilders.com.

Sales are less brisk for the two other figurines in the war on terror set - Tony "the Ally" Blair and Rudy "the Rock" Giuliani.

Bin Laden's likeness has been dubbed a "villain action figure" and is usually sold with George "make no mistake about it" Bush.

The al-Qaeda leader is also available dressed in a pink tutu and carrying a handbag. Another Bin Laden effigy is small enough to be clutched in the Bush doll's hand.

Creator Emil Vicale said he came up with the idea to produce Blair, Bush and Giuliani dolls, all dressed in soldiers' outfits, just a few weeks after the 11September terror attacks.

"These three guys saved the world that day," he said. "I thought, why give kids an action man when they could have real heroes to play with?"

Mr Vicale had not originally planned to offer a Bin Laden doll, but eventually caved in to constant demands from consumers.

"I'm still a little uneasy about Osama, but people were desperate to have the villain to go with the hero," he said.

He added that White House lawyers are concerned about his business venture, and have warned him that the Bush model may breach proper-use laws covering the US President.


What Dubya was doing when he was supposed to be serving in the National Guard

One day in the late fall of 1972, James Pryor Smith walked into the roomy two-bedroom house that belonged to his aunt, Elizabeth Dickerson, an elderly woman who was confined to a nursing home, and he could hardly believe his eyes. Located in the heart of Cloverdale - an exclusive, old-money neighborhood in Montgomery, Alabama - the house, his son Neil remembers now, "was a total wreck." A chandelier was badly damaged, there were holes in the wall and the place was full of empty liquor bottles. "The cleaning bill alone was $900," Neil Smith says, "which was no small thing in 1972." One detail about the mess stood out. "The bedding had to be hauled out into the street," says Jackson Stell, a friend of Pryor Smith. "Pryor said there must have been no sheets on the bed, the mattress was so horribly soiled."

"The trash and damage clearly came from drunken partying," says Mary Smith, who was married to Pryor at the time. "Pryor was very specific that this was related to booze."

Pryor Smith was livid. He had rented out his aunt's house in May as a favor to a family friend who knew Winton "Red" Blount, a construction magnate who became one the richest men in Alabama before being appointed postmaster general by President Nixon. The twenty-six-year-old tenant - his name was George W. Bush - had sounded like a reliable young man. He was a Yale graduate who came from a good family. His grandfather, Prescott Bush, had been a United States senator from Connecticut. His father, George H.W. Bush, was a former congressman from Houston who had gotten rich in the Texas oil business. Young Bush was coming to Montgomery to serve as the state organizational director of Blount's United States Senate campaign. After Pryor Smith had the house cleaned and repaired, he sent a bill to Bush - twice. Bush never responded.

The period from may 1972 until May 1973 would come to be called Bush's "missing year." But the only thing Bush appeared to be missing during that year was his National Guard duty. He was, at that point, a twenty-six-year-old college graduate still searching for something to do with his life. An idle young man such as himself might have seemed like an ideal candidate for conscription - after all, when Bush had graduated from Yale four years before, more than 500,000 young American men were serving in Vietnam.

In the late 1960s and early 1970s, the way a young man dealt with the question of Vietnam was the crucible in which the character of an entire generation was revealed. Like John Kerry and Al Gore, you could volunteer for military service. Like Bill Clinton, who had deep-seated doubts about the way the war was being handled, you could express your misgivings openly. Like Dick Cheney, you could use deferments to keep yourself out of the draft. And for the privileged few whose family had the power to pull strings, like George W. Bush, there was the National Guard. In later years, the Guard occupied a large part of the country's fighting force, but during the Vietnam era, fewer than one percent of the fighting force came from the Guard. Entrance into the Guard, then, meant you were virtually guaranteed not to see combat duty in Vietnam.

So while Bush knew what he wasn't going to have to do - fight in Vietnam - the young man had not dealt with the problem of what he was going to do with himself. That spring, Bush had quit his job at Stratford of Texas, an agricultural conglomerate based in Houston. Jimmy Allison, an old friend of his father's from Midland,Texas, had been named campaign manager of Winton Blount's senatorial campaign in Alabama. Bush's father wanted Allison, who owned the newspaper in Midland, to take George W. along with him. But Bush Jr. had an obligation to serve in the National Guard, which required him to show up on a regular basis for drills.

At first, Bush tried to transfer to an Air Force reserve unit, the 9921st, based in Montgomery, that was all but out of business. "We were as low on the totem pole as you got," says Reese Bricken, commander of the 9921st, who approved Bush's request on May 26th, 1972. "We were not even paid. The unit only existed so that some of us could earn enough points to qualify for retirement."

It seemed like the perfect solution for Bush: He'd take care of his obligations with the absolute minimum responsibility. But two months later, in July, the Air Force regional personnel office in Denver threw a wrench in his plans: He needed to be in an active unit, not the inactive 9921st. After all, the United States military had spend almost $1 million training him to fly fighter jets. He couldn't just go to Alabama and serve with a bunch of aging reservists waiting to draw their pensions.

So Bush's attempt to game the system had faltered. In September he asked to be transferred to the 187th Fighter Group of the Alabama Air National Guard. That request was approved, but on September 29th he was suspended from flying because, earlier in the year, he had missed his annual physical exam.

He was paid for just two days of Guard duty: October 28th and 29th. He never reported to any of the commanding officers he was ordered to report to. Only one Guard veteran from the 187th had vague memories of meeting him, and that guardsman had the timeline all wrong: He placed the future president in the 187th months before he was supposed to have shown up. To those with whom he worked in the Blount campaign, Bush seemed to regard his Guard service as a nonissue. "I have no memory of him talking about the Guard," says Devere McLennan, who worked on the campaign, first as a youth director and then as a staffer trying to woo disaffected Democrats to support Blount. "I think I had to run him to the cleaners to get some military uniforms once, but I never saw him wearing a uniform."

Indeed, when questioned, Bush would not even talk about the Guard. "I had been told that George was a lieutenant in the National Guard," says C. Murphy Archibald, a nephew by marriage of Winton Blount, who was working on his uncle's campaign. "I had been a lieutenant in the Army, served fifteen months in Vietnam, and I tried to talk to Bush about the Guard, but he wouldn't talk about it. At that point, Vietnam was constantly being discussed, but George just changed the subject."

Still, even with his free pass keeping him out of harm's way, George W. Bush did not fulfill his obligation to attend Guard drills on a regular basis while in Alabama. Exactly what was he doing? For one thing, he was drinking heavily. "You had a bunch of guys and girls in their twenties just out of college - what do you think happened?" says McLennan. " We probably kept the state liquor store in business."

Bush arrived in Montgomery in early May 1972. In political campaigns, the state organizational director is a vital position, since he is the conduit to the county chairmen, who are responsible for getting out the vote on a grass-roots level. Bush started his work at a slow time for the campaign. By late spring, Blount had already won his party's nomination. It wouldn't be until the end of the summer that the campaign - his opponent would be the legendary Alabama senator John Sparkman - kicked into high gear.

When he got to Montgomery, Bush lived with other staffers in an apartment paid for by the campaign. After he'd moved out of that apartment into the house in Cloverdale, he still made use of an amenity supplied by Blount: the tennis courts on the Blount estate. "I was learning how to play tennis at the time," McLennan says, "and George hit me a million tennis balls. He was a much better player than I was, but he was patient. We played a lot of tennis at Red Blount's house."

Bush had a regular group of drinking buddies he hung out with, and during his stay in Alabama he was said to have dated an array of local young women, among them Emily Marks - "One of the most beautiful women you have ever seen," McLennan says - and Baba Groom, the estranged wife of writer Winston Groom, who years later would write Forrest Gump.

Throughout the summer, Bush maintained his heavy social life. By September his behavior had become a problem. "Here's the thing that stood out," says Murphy Archibald, who arrived to work on his wife's uncle's campaign in September. "People were glad to have me there. They said, to a person, 'You are going to like Jimmy Allison, but why did he bring this young guy with him?' The general feeling was that it was strange that someone of Allison's competence would have someone who didn't seem very interested in the campaign."

According to Archibald, Bush regularly didn't show until noon or later, and then would leave four or five hours after that. He'd spend most of those few hours in his office with the door closed. When he did talk to the staff - and he made the rounds each day as soon as he came in before he locked himself away - his conversation was often disconcerting. "I found it so strange that in that position - in a United States Senate campaign - this guy who was twenty-six years old would come in and good-naturedly talk about how plastered he had gotten the night before. It was usually in the context of saying, 'I'm sorry to be coming in so late, but last night I really knocked them back.' He was very comfortable about talking about how drunk he got."

By late September it became obvious that Bush was performing his job so badly that changes had to be made. The county chairmen were talking to Bush on the phone, they were telling him what they needed in terms of support and campaign materials, and then nothing was happening. Finally, a substantial amount of Bush's responsibilities were turned over to Archibald, who marveled at how Bush seemed to assume no liability for his behavior - and knew he didn't have to.

"George had one story he told a lot," Archibald says, "and the story was about how he was always getting picked up by the police in New Haven during his time at Yale, and how they would always let him go when they found out his grandfather was Prescott Bush. When he told this story, George would always laugh as if it was the funniest joke. The first time I heard it, I said, 'Who's Prescott Bush?' And he said, 'My grandfather - the United States senator from Connecticut.' I thought it was stunning. He knew he was bulletproof because of his family. I had never seen someone with such a well-defined sense of being 'above it.' And it was not so much because of his money as his family."

In the end, Blount lost badly to Sparkman, who pulled almost two-thirds of the vote. Sparkman was such a towering political figure in Alabama that probably no Republican could have defeated him - not even one of the state's richest businessmen. Still, Bush's work on the campaign, such as it was, had been noted. "I heard what people were talking about," says Tom Blount, Blount's son, who was living in Washington, D.C., at the time. "I knew the guy was screwing around."

On Election Night, following Blount's concession speech, Bush drove Tom Blount to his father's house. "It was just the two of us," Tom Blount says. "Personally, I didn't like him. I thought he was real full of himself, and I had heard that he was making his way with all the ladies in town, which was fine, but I thought he was a little immature about it. I remember very clearly asking him - we were driving into the gates of my father's house - where he went to school. Then he did this fake 'Oh, shucks, man, I went to Yale,' like he was embarrassed by it. I thought this was so pretentious. I looked down at his cowboy boots and jeans and thought, 'Not my type.' "

Later that night, according to an article published in Salon, Bush would return to downtown Montgomery from the Blount estate, get drunk, urinate on a parked car and yell obscenities at police officers.

Eight years after the Blount campaign, when George H.W. Bush ran for president, Winton Blount supported John Connally instead of Bush. "The Bushes were not happy about it," Tom Blount says. "Barbara was not real pleasant when she heard my daddy was supporting Connally. She really is the force behind that family."

Toward the end of the Blount campaign, Bush began dating a young woman named Mavanee Bear. He seems to have continued dating her after the campaign was over. It is not clear, then, exactly when he returned to Ellington Air Force Base, in Houston, to continue his Guard training. He was paid for four days of duty in November, none in December. In January 1973, he was paid for six days. But by January 6th, 1973, he had returned to Montgomery, for on that date he reported to the Maxwell Air Force Base to have a dental checkup. It would be the only documented visit that he made to a military facility in Alabama, even though he had been living in the state since May.

In February and March 1973, he would not be paid for any days in the Guard. Then he put in a flurry of days of paid duty: two in April, fourteen in May, five in June and nineteen in July. Around this time, to further complicate matters, William Harris and Jerry Killian, his commanding officers in Texas, wrote about the period of May 1st, 1972, until April 30th, 1973: "Lt. Bush has not been observed at this unit during the period of the report" because "a civilian occupation made it necessary for him to move to Montgomery, Alabama. He cleared this base on 15 May 1972. . . ." Later, the authenticity of certain Killian memos would come into question, but this memo was not one of them.

On September 5th, 1973, Bush requested in writing an early release from the National Guard so he could attend Harvard Business School. On September 18th, the Guard approved his request. Then, on October 1st, even though he had signed up for a six-year stint in the Guard to avoid the draft, Bush received an honorable discharge after finishing only "five years, four months and five days towards obligation." Bush did not even bother to sign his discharge papers. "Not available for signature" was written in the blank space where his signature should have been.


Last month, the San Francisco Chronicle had a long article exploring many of Google's unpublished rules on what it will and will not accept in advertising. The topic has already been covered before, as explained in my The Ads Google Just Says No To article for Search Engine Watch members. However, the Chronicle was leaked a document shedding even more light on Google's internal policies.

Forget the debate over what exactly Google will allow. A core issue to me has been why doesn't Google simply publish its rules? Why can't advertisers know from the start what Google allows? The guesswork has been infuriating to some who have been rejected on the basis of unpublished policies in the past, plus it has fed into the secretive nature some accuse Google of having.

Gun ads are a great example. I've long run references to articles where those selling guns or gun-related products have been rejected by Google. But is this policy listed within the Google's editorial guidelines for ads? No. How about the fact that wine ads are OK but not ads for hard liquor? Again, not published.

Finally, there's good news. Google's planning to greatly expand the editorial guidelines it publishes online, providing everyone -- advertisers and Google users alike -- a better idea of what it accepts on the advertising front.

"We're in the editing phase of what that page will look like," said Sheryl Sandberg, vice president of global online sales and operations for Google. "It won't be up in the next few days, but if we're not done within a few months, I'll be disappointed."
Hate Ads Bad; Protest Ads OK

In addition to making the rules public, some of them have already changed. In particular, there's been the controversial issue of what I've called Google's "anti-anti" policy. This is the rule which periodically comes to light when someone gets their ad yanked because it was anti-Bush, anti-Clinton, anti-cruise ship company and so on. If you were anti-anything, it seemed you might not get to advertise at all.

When I visited Google at the end of July, I was told the anti-anti rules had been quietly liberalized as of the middle of that month. I'd summarize the change like this. Hate ads remain out, but protest ads are OK.

Got a beef with something or perhaps someone prominent like a politician? Now you should find it more likely that your protest ad will get accepted. But if you advocate hate against groups or individuals -- violence toward them, questioning a right to exist or otherwise stepping outside the bounds of what Google considers acceptable debate -- then your ad might not get to run.

"There are many legitimate sites. As a company, we have to choose who we do business with," said Sandberg.
Information Through Ads AND Results

Certainly the new transparency to come should help some of the criticism about ad decisions that's come Google's way in the past. So too will greater acceptance of protest ads. In March, BusinessWeek technology editor Alex Salkever took Google to task over that issue. Last month, San Jose Mercury News technology columnist Dan Gillmor did the same.

Beyond traditional media outlets, plenty of Google's own advertisers have been upset, sparking further discussion. Last month, W.F. Zimmerman found he couldn't run ads about "sensitive issues" such as prisoners held at Guantanamo Bay. That became blog fodder, and it's just the latest of many such instances.

Ultimately, I wonder if Google will still have conflicts as it continues to encounter issues with those viewing its advertising space as a way to get messages out, rather than a mechanism for selling. It's that latter function that Google sees as the main purpose for its ads.

"We're running an advertising program and trying to sell products and services," Sandberg explained.

Sandberg accepts that Google advertisers might want to do more than just sell. "We are happy for them to use this for informational purposes as they see fit," she said. But Google really views its unpaid editorial results as where such informational messages are primarily distributed.

"For us, it goes back to what we are doing with Google and what we are doing to provide information," Sandberg said. "Most people get the information from Google in the search results, and there is generally tremendous breadth of coverage there."

In other words, if you have a stance on a particular issue, Google's hoping that this stance -- along with many other diverse views -- will be naturally well-represented in its unpaid results. These are the results where Google does not make editorial judgments about what content to accept, other than in the case of search engine spam.

Unfortunately, there will certainly be cases where many will agree representation is not perfect on a particular topic. There will also be cases where particular individuals, with particular stances, won't be happy.

Why aren't we ranking first or even in the first page of results? That will be the question raised. And the Google response traditionally has been that if someone feels they must have representation, then they should buy an ad.

That response inevitably turns the ad space into more than a merchandising medium. It also remains a message delivery outlet. And when those messages are stifled, even though it's ad space involved and despite what may be showing in the editorial results, Google remains left open to accusations of censorship.

about Jake's Famous Buffalo Wing Recipe



These are not, as a layman, might assume, the wings of a Buffalo, but instead chicken wings doused in Buffalo Wing sauce, which in turn, originated from Buffalo, New York. They apparently had to do something to stay warm on those cold winter nights.

The sauce can range anywhere from mild to atomic in "taste", and is wonderful for clearing out those sinuses.

I for years tried to create my own Buffalo wing sauce, but without success, until one cold night, I stumbled over the recipe in my experimentations:

1. Start with a large saucepan.


2. Melt some butter in the saucepan (about 1 tablespoon)
Add:
1. 24 oz (two large bottles) of Lousiana "Red Hot" sauce
2. 1 small bottle of Tobasco
3. A pinch of garlic powder
4. A dash or Worcestershire sauce
5. A dash of soy sauce
6. A tablespoon (or more) of ketchup


3. Simmer this concoction for about 15-30 minutes (You want to eliminate as much of the water as possible), and then thicken with a bit of corn starch or tapioca starch. Make sure to dissolve the starch in cold water first, and then add the starch/water mixture, and stir. If you don't use the small amount of cold water first, the starch will clump in the sauce. The starch is meant to thicken the sauce.

4. By the way, keep the area around the stove well-ventilated, and remove all small birds from the vicinity if you don't want them to perish due to the fumes.

5. Let the mixture cool.


Applying this brew to wings is also an art form all of in itself. Take about a dozen wings, cut them into their three respective sections and toss out the tips. Fry what you have left in a deep fat fryer until golden brown (about 10 minutes in my Tefal fryer).

Note that you want to have a large watertight container available, into which you will dispense a couple of tablespoons of the hot sauce...


Once you are done frying the wings, dump them in the container with the sauce, seal the container and shake violently in order to evenly distribute the sauce across the wing surfaces. Unseal, pour on plate, and eat.

Some people like to eat Buffalo Wings accompanied by celery stalks and blue cheese dressing because it dampens the pain. These people are wimps.

If you do find this too hot, you can thin the mixture with water and ketchup, and also not cook it so long. If you want it hotter, add white and/or red pepper and cook it longer. Also, the sauce may be enhanced with a variety of other ingredients. For example for a hot/sweet sauce, add maple syrup.

The amount of sauce prepared above should keep about 100 wings happily coated.

Buffalo wing eater's motto: If it don't burn going in and don't burn coming out, it ain't hot enough.


i made this last night. it was inspired by pineapple fanta, and underage drinking...



i found these lecture notes very helpful on this power point project i was workin on this week at cricket technologies

"So, 37signals took a field trip to see Edward Tufte’s Presenting Data and Information workshop. . Here are someone else’s detailed notes.

At his worst, Tufte is a passionate presenter with a clear cause (although slightly out of touch when it comes to talking web design). At his very best, Tufte has some real knowledge and insight to share about data density, the resolution of paper, clarity, simplicity, sparklines, and a near religious fanaticism targeted at the reduction of ornament in favor of making the content shine. He clearly believes that content is king. And, oh yeah, he likes to show off his original, first print/edition copies of Euclid’s The Elements of Geometry and Galileo’s The Starry Messenger.

He mentioned one thing that I never really thought about in this way before: When most of us think about bad design metaphors, we think of horrible screen interfaces that look like books, or look like desks, or look like television sets. But, the most common metaphor that leads to bad design is mimicking org charts or corporate structure. A design that follows corporate structure “just because” is just as bad as an interface that mimicks a book or a work desk or a television set. But, since the org chart or corporate structure is hidden in the design (unlike a book-like UI where you can see the physical representation of a book), we often don’t think of this type of design as design based on a metaphor.

Some other key takeaways:

* Don’t use bulletpoints
* 1+1=3… Two elements in close proximity can create a third “ghost image” from the negative space between the two elements
* Put your name on things — it shows that you care about the content and take responsibility for its validity
* “It’s better to be approximately right than exactly wrong”
* The resolution of good old paper is higher than the most advanced computer monitors
* Never harm the content — the design should be based on the content, not the other way around
* There’s hidden power and credibility in small multiples
* If a chart or table or object needs a label, label it inline — don’t use legends/keys that require “back-and-forths”
* Don’t use footnotes, use sidenotes — they’ll be closer to the content you’re referencing
* When presenting, show up early and finish early
* The interface is the software (which we talk about extensively in our Building of Basecamp Workshop)
* The way you reduce clutter is to clarify the design and then add information
* The power of the Smallest Effective Difference — make all visual distinctions as subtle as possible, but still clear and effective
* Frame your presentations: What’s the problem; who cares; and what’s your solution
* Good design is clear thinking made visible, bad design is stupidity made visible




via SIGNAL vs NOISE


GGGGGGGGGGGGGGG--uniiitttttttttttttttttttttttttt

Lloyd Banks And Young Buck Heading Out On Tour

Hey, your album debuts at .1, you get to headline your own tour. Simple as that.

Lloyd Banks will kick off his The Hunger for More tour this week and will be accompanied by his G-Unit partner Young Buck. The Banks and Buck road show starts Thursday in Portland, Maine, and is scheduled to end November 6 in Rochester, New York.

While traveling, Banks will have to take a little break to shoot his next video: He recently completed a remix of "Karma" with Avant and the two are supposed to go in front of the camera soon, according to Interscope Records.

The Hunger for More tour dates, according to Interscope:

* 9/23 - Portland, ME @ Portland Civic Center
* 9/24 - Boston, MA @ Avalon Ballroom
* 9/25 - Gaithersburg, MD @ Montgomery Fairgrounds
* 9/25 - Milwaukee, WI @ U.S. Cellular Arena
* 9/26 - Philadelphia, PA @ Electric Factory
* 9/27 - Boulder, CO @ Boulder Theater
* 9/29 - Phoenix, AZ @ Celebrity Theatre
* 9/30 - Tucson, AZ @ Pima County Fairgrounds
* 10/1 - Albuquerque, NM @ Convention Center
* 10/2 - Wichita, KS @ Kansas Coliseum
* 10/6 - Des Moines, IA @ Bellaire Ballroom
* 10/7 - Sioux City, IA @ Louis Bowl
* 10/8 - San Diego, CA @ 4th & B Concert Theater
* 10/12 - Portland, OR @ Roseland Theatre
* 10/13 - Seattle, WA @ Showbox
* 10/16 - Dekalb, IL @ Northern Illinois University
* 10/16 - Peoria, IL @ Peoria Civic Center Arena
* 10/17 - Gary, IN @ Genesis Convention Center
* 10/22 - Tallahassee, FL @ FAMU University
* 10/23 - Hartford, CT @ Hartford Expo Center
* 10/24 - Sayreville, NJ @ Starland Ballroom
* 10/28 - Ottawa, ON @ Capitol Music Hall
* 10/29 - Trenton, NJ @ Sovereign Bank Arena
* 10/30 - Dover, DE @ Delaware State University
* 10/31 - Boston, MA @ FleetCenter
* 11/3 - Syracuse, NY @ Landmark Theatre
* 11/4 - Hampton, VA @ Hampton University*
* 11/5 - Providence, RI @ Dunkin Donuts Civic Center
* 11/6 - Rochester, NY @ Dome Center


Executive presents PowerPoint eulogy at mother’s funeral

SYDNEY, Tuesday: A corporate affairs manager from a leading Sydney company yesterday delivered a moving presentation at his mother’s funeral, utilising the many features of Microsoft’s PowerPoint software.

Before a packed congregation of relatives and friends, the senior executive paid tribute to his mother through a series of bullet points, graphic charts and bold-font mission statements.

He spoke lovingly of his mother’s varied passions and interests, represented clearly by an animated pie graph. The eulogy also included estimated projections showing where his mother would be positioned in 10 years’ time, had she not been struck dead by lymphatic cancer.
In recognition of her momentous life, the son agreed to divide his oration into three different seminar sessions, titled Early Forecasts, Key Achievements and Growth Outlook.

Tea and coffee were served in between each eulogy session, allowing delegate mourners the chance to meet and chat, or just stretch their legs.

The bereaved executive son said afterwards he thought the presentation was well received, but that he was sorry the tender story of how his mother and father met had to be dropped from the eulogy, when his laptop froze, leaving a large warning dialogue box projected onto the screen above the coffin.


The Weather Makes Way for a Reunion

One of the best outdoor concerts of the summer took place on Saturday, at the last possible moment, as a drizzly afternoon gave way to the year's first chilly autumn night. The concert, starring the reunited Fugees, was billed as a "block party" by its organizer, the comedian Dave Chappelle. But it was also - perhaps mainly - a movie set: the director Michel Gondry was recording the whole thing for a concert film, which helps explain both the impressive lineup and the slow pacing.

There were no second takes, but there was lots of down time, which meant Mr. Chappelle had to find creative ways to kill it. Early on he commandeered the bongos for some fake protest poetry. "Five thousand black people, chillin' in the rain," he intoned - an overstatement. "Nineteen white people, peppered in," he added - an understatement.

The location was a well-guarded secret - a bit too well-guarded, perhaps. Tickets were free, but to get them you signed up online, filled out a casting questionnaire, then showed up at a secret location in Chinatown at 11 a.m., from which you would (eventually) be bused to an out-of-the-way street corner in Fort Greene, Brooklyn, at the L-shaped intersection of Quincy and Downing Streets. The whole process sounds as complicated as one of Mr. Gondry's playful but rigorous music videos, so maybe this was his idea. Who else would turn a concert into a treasure hunt?

There weren't nearly enough people to fill up the block (despite radio announcements on the day of the show advertising the location), but hundreds of concertgoers stuck it out, partly shielded from the elements by free ponchos that resembled oversize sandwich bags; no doubt Mr. Gondry enjoyed the strange sight.

Still, none of this was any stranger than the reunion of the Fugees, the rap trio that has only grown in stature since the release of its second and - so far - final album in 1996, "The Score." The group's name has come to symbolize hip-hop bohemia, and it was memorably adjectivized by Kanye West in a rhyme about a materialistic lover: "Five years ago, you was so Fugees/Now you don't want nothing unless it costs a few g's."

Yet the members themselves don't seem to spend much time happily reminiscing about the early days. Just last year one of them, Wyclef Jean, was offering gentle correction and friendly advice to his former bandmate Pras on a track whose title labeled Pras a fake. And since the huge success of her 1998 solo debut, "The Miseducation of Lauryn Hill," Ms. Hill, the third member, has mainly avoided the spotlight, surfacing for a tumultuous "MTV Unplugged" acoustic session during which she broke down crying.

So it was a shock and a thrill to see all three of them creeping through "Fu-Gee-La" once again. A few songs later Mr. Jean rhymed, "Jay-Z said, 'The Fugees gon' break up'/He ain't even know, one day we'd make up," and the crowd ignored the form (the easy rhyme, the clunky meter) in order to cheer the content.

Then it was Ms. Hill's turn, starting with, "Killing Me Softly With His Song": she sang the first verse nearly a cappella, building tension, maybe even despair, that dissipated only when the joyful hip-hop beat finally arrived. Near the end she circled around a marvelously ambivalent three-word phrase: "Singing my life, singing my life, singing my life."

What came next was even better: Ms. Hill's "Lost Ones," which has always sounded like a thinly veiled swipe at Mr. Jean. On Saturday night Mr. Jean strummed his guitar and smiled while Mr. Hill rapped on one side of him ("It's funny how money change a situation/Miscommunication leads to complication/My emancipation don't fit your equation") and Pras angrily (and half-seriously?) gestured on the other; it was the kind of performance that made you glad someone was filming.

The Fugees were joined by like-minded hip-hop and R&B acts: Mos Def, Talib Kweli, Common, the Roots, Jill Scott, Erykah Badu, Dead Prez. These fellow travelers are often tagged with the stultifying label "socially conscious," and they used to present themselves as an urgent alternative to money-hungry mainstream hip-hop. But on Saturday they seemed more like friends than comrades. Mr. Kweli spit tightly constructed verses from his forthcoming album, "The Beautiful Struggle" (Geffen), and Common and Ms. Badu, apparently recovered from a rather public breakup, reunited for a couple of love songs: "Love of My Life" (hers) and "The Light" (his).

In some ways, though, the day's most important performer was the rapper-producer Mr. West, whose brilliant debut album, "The College Dropout" (Roc-A-Fella/Island Def Jam), proudly courts both Fugees fans and "costs a few-g's" fans - slyly admitting along the way that most listeners are a bit of both. Backed by a band led by Questlove, Mr. West rapped his way through "We Don't Care" (an ambivalent ode to drug dealers) and "Spaceship" (in which he recounts a disastrous - and larcenous - tenure at the Gap).

Mr. West noted that he would probably be the only rapper onstage all day wearing diamonds, but he seemed to like being slightly out of place, the way he always is. Best of all, in a day filled with special guests, Mr. West had the best and weirdest one: Freeway, a fierce, bearded ranter from Philadelphia, who showed up 20 minutes too late to perform his verse in Mr. West's track, "Two Words."

No matter. Freeway rapped anyway, barreling through a verse from "What We Do," rhyming a cappella until Questlove joined in. "When the teeth stop showing/And the stomach start growling/Then the heat start flowing," he snarled, giving the friendly block party the one thing it might otherwise have lacked: an antihero.


Reports out of the Universal Music Group is that they have been granted permission by the US Government to keep Eminem’s fifth LP at Fort Knox to prevent bootlegging. Okay, I’m exaggerating.

What is being done to prevent bootlegging and piracy is that Eminem is not going to wrap up the recording and mixing process until very shortly before the release date.

In addition to that, Universal is making significant other security measures to ensure that the album is not stolen during the pressing process. “Encore” is due out November 16th on Shady Records.


Former child star Macaulay Culkin has been arrested in Oklahoma City on suspicion of possessing marijuana and a controlled substance, police said on Saturday.

The star best known for his role of the ingenious child who fends off burglars in the "Home Alone" movies, was arrested during a traffic stop on Friday afternoon on a highway in the city.

Culkin, 24, was taken to jail when a police officer said he found the star in possession of 17.3 grams (0.6 ounce) of marijuana and prescription drugs he apparently obtained without a prescription. He was released on $4,000 bail on Friday night, after spending about two hours in jail

Culkin, who recently starred in the movies "Saved!" and "Party Monster" did not talk to reporters when he left the jail.

According to the arrest report, an Oklahoma City police officer pulled over a car speeding on an interstate. Culkin was a passenger in the car driven by a man from New York.

The officer asked Culkin and the driver to step out of the car after the driver, identified as Brett M. Tabisel, had given the officer permission to search the vehicle. The pair said they were driving from New York to Los Angeles, according to the report.

A search of the car revealed marijuana, the anxiety relieving medication Xanax as well as sleeping pills. The medication was in plastic sandwich bags while some of the marijuana was in a metal cigarette box, the report said.

The officer said the two were cooperative with the search and quickly surrendered the drugs.

Culkin's publicist, Michelle Bega, would not comment on the incident.


OMA/AMO Dutch architectural firm , together with San francisco based IDEO product technology and design firm have come created what a scinece fiction films of have been depicting for the last 30 years. Interactive shopping- , and it is has begun with Italian haute couturier Prada. After extensive interviews and analysis, IDEO specialists were able to incorporated into the design of the stores information architecture, interactive dressing rooms as well as other in-store devices that help with customer assistance.

Interactive dressing rooms

A simple eight-foot-square glass booth. One wall forms the door, which the customer can make opaque for privacy during changing or clear to show off a garment to someone outside the booth. Another wall incorporates a "magic mirror," a camera and display that adds a four-second delay so the customer can spin around and view all sides of the garment. The opposite wall has two interactive closets, one for hanging clothes and one with shelves. Sensors in the closets detect the electronic tags on store items and trigger a touch screen that displays the item and its related information, from availability to permutations of color, fabric, and size.

Electronic tag
The tag serves as a staff id as well as a remote control for the entire boutique. This technology allows Prada staff members to stay longer with the customer and offer more assistance. With a quick scan of the electronic tag, the shop assistant knows what is in the stockroom, what is in the branch across town and when the next shipment is coming in from Milan. Prada?s tag also allows digital representations of each garment to be called up and projected on screens throughout the store.

If a customers isn't sure if he/she would like to purchase right away, the information from electronic tag can be save on a customer card and later accessed via the Internet, to have another look at the clothes they have tried on.

It wasn't easy implementing this technology for a world wide luxury company, it required changing Pradas entire information infrastructure, not to mention a large investment. The Milan based design house has already started to tag all of the items that leave the showroom and this technology has already been implemented in the Prada stores in New York since December 2001.

Imagine what shopping will be like when this type of technology and customer service is available in all types of shops.


This article by: Celia Abernethy


After 18 months sleeping on sidewalks and in shelters, Mel Cornelison has a job, and soon might have a place of his own. And he owes it all to voice mail.

Cornelison landed his job through free voice mail that is being offered to homeless people and others without phones in cities around the country.

The nonprofit Community Voice Mail project provides homeless people with a way for potential employers, social service agencies and relatives to contact them. It also enables them to apply for a job without having to tell a prospective employer they are living on the streets.

Dallas -- along with Denver -- last month joined a growing list of cities where homeless shelters, soup kitchens and other agencies are offering the service.

The program started in 1991 in Seattle and has grown to 37 cities in 19 states, helping more than 47,000 people find jobs and housing last year, according to Community Voice Mail. Agencies in Los Angeles, San Diego, Boston, Atlanta, Houston, Philadelphia, Detroit and New York are already taking part.

"The intangible that Community Voice Mail provides is hope," said national spokeswoman Patricia Bonnell. "Without a phone number on your resume, you can't get a job."

Hilary Terlouw, a 45-year-old woman from Bellingham, Washington, said she was living in an abandoned trailer with no electricity when she learned about Community Voice Mail three summers ago. She lives in subsidized low-income housing and has a service dog and even a computer, she said.

"It just saved my life," said Terlouw, who battles mental illnesses and physical disabilities. "It really did. If I didn't have a telephone number to have doctors' offices or clinics call me back, I don't know what I would have done. I was truly at the end of my rope at that time."

Before getting voice mail, Cornelison used to put The Stewpot -- a soup kitchen and ministry of the First Presbyterian Church of Dallas -- on his applications. But the last thing an employer wants to do is call a homeless shelter or a soup kitchen, say advocates of voice mail for the homeless.

"A lot of shelters have a pay phone that's in the community area," said Shannon Stewart, executive director of The Employment Project, which offers voice mail to the homeless in Chicago. "When you ask if John Doe is available, you hear the phone being thrown down and the screaming down the hallway."

Community Voice Mail gives each homeless person a phone number and each records a message. The numbers cannot be used for outgoing calls, but people can check their messages from any regular or pay phone. The service costs the soup kitchen or homeless shelter as little as $7 per number per month.

"It just makes people feel a lot better about themselves," said Larry Sykes, Community Voice Mail director at The Stewpot, which hopes to offer more than 2,500 voice mail lines in Dallas within three years. "Unless they tell somebody they're eating at The Stewpot or sleeping under a bridge, nobody knows it."

In Cornelison's case, Goodwill Industries was aware of his plight when it used the voice mail system to contact him and offer him a job at one of its warehouses at $5.68 an hour.

For now, the 40-year-old Dallas man still lives on the street. "But once I start getting paydays, I'll be able to not do that anymore," said Cornelison, who hopes to move into a motel, if not a more permanent home.

His hiring has inspired others who frequent The Stewpot.

"I think that it is like a domino," said Pamela Nelson, an art teacher at the downtown ministry. "I mean, that uplifted everybody here."


hip hop dx.com intreviews alchemist. the producer for the likes of mobb deep, and nas.

First off Al what’s good with you?

Chillen.

Aiight tell us about the album. Guests?

Alright...the album September 21st, “1st Infantry.” It’s gonna be crazy. We got my Mobb peoples. We got Lloyd Banks and the Game. We got MOP on there. We got Dialated Peoples. My man TI. Just crazy people. The Lox, D-Block them my peoples. Just crazy joints man. Straight fire. We gonna get it poppin with this album.

How do you figure out who you are gonna work with and produce for? Do you just contact all of your favorite artists?

Basically it’s already set up. It’s pretty much all in the family. There really isn’t a need for me to reach out and contact other people. I’ve been working with the illest for years.

What are you looking to achieve with this album. Many people have heard your production over the years but haven’t been able to match the face with the name.

Exactly. I feel like with this album the people are going to be able to match the face with the music. I mean...there’s a lotta shit out there. But with this album people who don’t know are gonna know. Not only that, I’m going to get behind the mic on a few tracks and do my thing. Na mean? I want people to know who the Alchemist is and by the time this album hits they will.

Yeah, I heard you are gonna flex some more of your lyrical muscle on this album. You always been an emcee first or how does those two worlds coincide?

I write all the time yo. I’ve been rhyming for a long time. It just so happens that I got my name from making beats. But rhyming is something I always have wanted to do. So with this album I’m gonna do my thing. I mean producing, that ended up being my niche but rapping has been a passion.

Is there anybody that you haven’t worked with as of yet that you would like to?

Ummmm....Nah. So far I’ve been able to work with who I’ve wanted to work with. I’ve worked with Jadakiss, Nas...you know what? I’ve pretty much worked with everybody I ever wanted to work with. And I’m happy with what I’ve done

Favorite beat you have ever done?

Man...That’s like asking a parent “Who’s your favorite kid?” I mean....I don’t know. There’s never been a beat that I’ve done that’s made me say “Damn!” Ya know? That would be more like the beat is making me instead of me making the beat. Na mean? I’ve done so much over the years that there isn’t really a beat that I can say is my favorite.

Is there an album that you listened to and lyrically you thought it was ill but would just have LOVED to produce the whole album?

Um.... Nas!

Favorite Producer besides yourself that makes you go “Damn...he‘s got some hot shit?”

Premier...yeah Primo. More currently Just Blaze. Yeah Just Blaze he’s got precision. That’s my man too. He always does his thing. New cats, you know you got my man Scram Jones, Emile, Evidence, Nucleus and Joey Chavez out of the west coast. Um...it’s a lot of kids with beats. Crazy shit out there. Big Dog got crazy beats. EZ Elpee got crazy beats. The production is out there. Alot of crazy shit out there. My man 8-off, Agallah got fire! Alot of heads got fire you know that.

How do you feel about meteoric rise of a producer like Kanye. Do you feel like it opens doors for someone like yourself who utilizes soul samples or do you think “damn people I’ve been doing this shit for years” and give them a late pass.

Yeah you know that’s how it is when you go to the masses with something or you go pop with something, it’s gonna be like brand new to them whereas we might have been in the trenches doing that style for a minute. Kanye is mad talented and he has his own way of approaching shit you know what I mean? As far as that similar genre. Alot of cats, myself included, have been doing this for a minute. It’s good to see that somebody got out there and got it poppin on that level. I think even before Kanye it was that the fact that Jay-Z did the Blueprint album with JustBlaze and Kanye and they were able to do a lot of beats like that. Jay really put that soul sound out there through virtue of Just Blaze and Kanye. I think it definitely signified it by putting it out to the masses. But you can check the HNIC album with “Trials of Love” with Prodigy and his shorty and that was some soul shit. Letting the record ride out in the end. You know, we been doing it for a minute. Before that the RZA was doing it you know Pete Rock was touching on alot of soul back in the day. You know we are all on the same boat so big ups to everybody doing their thing. You might hear some new jacks out there that will say “he’s out there trying to do it like Kanye” but me and Kanye know what time it is. We all are in the same boat. Big ups to those who are doing it the right way including Kanye.

Do you consider yourself the people’s producer? Meaning that you keep shit real for your underground fans as well as give a little something for the commercial heads without compromising your style?

Hell Yeah! I mean I always am trying to find the median. Going to the masses and creating something creative and original. Making that Shit man! It’s hard to put a finger on it and describe it. But when you hear it you know it’s that Shit. It moves you it a certain way you get a certain feeling. It goes against the grain and it’s not typical and then it’s that shit. If it goes pop it means a lot of people appreciated it. It’s not geared to that type of audience but it’s just that Shit.


How do you feel about the state of hip-hop right at this very minute? Right before your album drops.

Alchemist: Umm...it lacks in a lot of categories but it has also grown in a lot of categories. I’m just happy to put out an album anytime in life ya know? We’re chosen to be in a different period of the rap game and I’m dropping right now and it was meant to be for me to come out at this time and put what I do out there in the world shoulder to shoulder with everyone else out there in the rap game. My album is going to get it’s respect and play its position. Instead of being all over the place like alot of these A&R’s and artists try to do these days and try to cater to everybody man. I just do what I do. You know what I mean? People just appreciate me for me and I’m going to change my style or sound because I’d just be chasing a trend. I want to be on the cutting edge of something than be on the backburners. So I’m just happy to put out this album now. September 21st is the date and the album is called “1st Infantry” and it’s just an exciting time for me to put my own album out there. Instead of telling cats “Yeah, go by so-and-so’s album because I did a joint on it.” No...go buy MY album right there under “A” and know what I did for cats for so many years and how they came through for me. It’s a good feeling.

What’s coming up for Alchemist?

Just laying the beats down for everybody right now. I did some shit for Styles P, Tony Yayo, Nelly. I just did a joint for Pharohe Monch’s new album that is just retarded. Can’t wait until that shit comes out. Its crazy man I’m telling you when that shit drops it’s gonna be poppin. Did an R&B joint for Mahonna, Swizz Beats wife. Some stuff is gonna be on the Nas Lost Tapes album. We already working on the new Mobb Album, Prodigy’s solo album. Man it never stops. I’ve been working with a couple of independent artists also my man Saigon got his major deal rightnow so we are working on his shit too. A couple of things ya know?

Any last words before we get outta here?

Good lookin out supporting me for the years and just checking for the kid. If anybody is unhappy with the current state of hip hop, go buy my album. You will be putting in your contribution of making it go where it needs to go. When they don’t support artists like me when they put out an album the industry decides to turn their back on artists likeme. They go where the money is being made. That is what’s contributing to why we don’t like this rap game no more. The first step is to support the artists that you feel. Don’t download it or bootleg it. If you download it because you are thirsty...that’s cool. If you bootleg it because you want to hear it first...that’s cool. Just don’t forget to go out there and cop the album. So we can show these industry people that we are relevant and we can make money too. Don’t ever forget that “Illmatic” didn’t even go gold. Ever since then it’s been on a downfall. We are here now and these rappers are getting bigger and bigger. I’m just glad I can make my contribution to the game. September 21st, that’s the day it drops. I ain’t even on that first week shit. Whatever happens, happens after that. Go out and support the kid, I’d appreciate it.


VIA HIPHOP DX

























this girl has some crucial sideburns.


what would you call a magazine with no newsstand sales, just five articles