Wednesday, November 26, 2014

Big Cannabis

[ed. See also: Leafly the "Yelp of Weed".]

A 46-year-old mother of three, Dooley is the cofounder and president of Julie’s Baked Goods, a purveyor of cannabis-infused snacks. She has celiac disease and wanted to create gluten-free products that would relieve her pain without damaging her intestine. Dooley’s Denver company released its first product, granola mixed with cranberries and almonds, in 2010 and now sells about 6,000 units a month, employing 11 people.

Even in Colorado, where medical and recreational marijuana are both legal, the cannabis business involves its share of hassles. Initially, Dooley’s license cost $1,250 and required a 25-page application. Renewing it, she said, cost more than twice that and required investing about $25,000 in the company’s kitchen, including a security system with 24-hour video surveillance. She wouldn’t have a business today if her husband weren’t a manufacturing specialist, she says.

As hard as she’s worked, Dooley’s experience has been relatively easy for a medical marijuana business in this country. Marijuana remains illegal federally, which leaves every state which allows the product to figure out its own regulations. Colorado was one of the first states to legalize recreational marijuana, and its regulations help ensure that cannabis companies have to pay close attention to the regulatory landscape to ensure they’re in step with the law. "I know every city councilman," Dooley said. "I don’t want to."

Colorado has plenty of small potrepreneurs like Dooley. Marijuana advocates talk up the value of their businesses to create jobs, pay taxes and help the sick. But at last week’s National Marijuana Business Conference in Las Vegas, the future of pot looked much less like an archipelago of mission-driven small enterprises than an emerging mega industry to be dominated by large companies.

Big Cannabis is coming. Increasingly, state regulations for legal marijuana are tilted toward outfits with deep pockets. Venture capitalists are looking for the brands that can ramp up and be everywhere overnight. (Just this week Privateer Holdings, a private equity firm, and the family of reggae legend Bob Marley announced that they will release Marley Natural, a cannabis brand inspired by the singer.) And people who are working to start small businesses—who often believe cannabis as a social or medical good—wonder if the gold rush is going to pass them by.

by Alex Halperin, Fast Company |  Read more:
Image: PRILL via Shutterstock

Tuesday, November 25, 2014


Sibylle Bergemann, Fashion Photography II (1980s)
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Luck Happens When Preparation Meets Opportunity

I know, I know, no football. But I could not help seeing this catch last night by NY Giants receiver Odell Beckham. Many are calling it the best catch anyone has ever made in the history of the NFL.



As a player, how do you prepare yourself for making the greatest catch in history? It would be easy to dismiss this catch as a lucky fluke...one-handed, fighting off a defender, just gets it by his fingertips. But here's the thing: Beckham practices exactly this catch:


Luck is what happens when preparation meets opportunity. Preparation, kids. Preparation.

The Cult of the Leica Camera

The camera arrives in a thin, brown cardboard box. Inside the box is another box, also cardboard, but this time shiny silver with a small red dot on the side. One opens the top and the sides fall away in unison, like a Buster Keaton film set, only to reveal yet another box, this one black with hidden magnetic clasps. Open this and there is, of course, another box, grey and black this time, with that red dot again, and within this – finally – is a block of aluminium that has been polished by hand for 45 minutes (you can see a film of this on YouTube that’s called “The Most Boring Ad Ever Made?” ). Inside this aluminium block is 100 years of German engineering, and when you hold it in your hands you may unaccountably feel, as I did with all that cardboard detritus happily discarded around me, that you are holding the weighty sum of human worth.

Just a camera, of course. The lump of aluminium is called the Leica T, and it is an unusual thing. It’s not just a new Leica camera, but a new Leica system. The system – much to the horror of those who picked up a Leica in the days when Henri Cartier-Bresson was dancing through the streets of Paris – is the first Leica designed and marketed for the iPhone generation, with a large touch-screen taking up almost the whole of its back and not very much else. Leica has been making mass-market digital cameras since 2005, which is the year the company came close to bankruptcy for failing to tackle the digital market earlier.

But the new T abandons itself to pixels as never before. With a bit of external design advice from Audi, Leica has jettisoned almost every visible element that the company once considered necessary to take photos: the chunky shutter speed and synchro dials; the rangefinder window and eyepiece; the distance indicator on the helical focus mount – long forgotten and so grandfatherly.

In their place is one slightly raised button for taking a photograph, and two gently recessed programmable dials, which may be completely bypassed by tapping on the screen. But within all this reductionist, modernist, shiny newness, Leica has retained one feature that sets it apart from all the Nikons and Canons and Rolleiflexes you can amass: its sheer, undentable, age-defying, spirit-lifting, grown-men-weeping desirability. Only those with steel hearts will be able to hold one and not reach for their credit card.

The cult of Leica takes many different forms, but it may be best defined by one anecdote. An absurd story you may safely try at home. A couple of years ago, a man on an online forum was pondering what really made Leica, Leica? Why was the brand so indestructible and perennially appealing? Why would normally sensible people pay much more for a Leica than another camera capable of achieving comparable results? One can argue endlessly about the quality of the lenses, and about the solidity of manufacture, but the forum guy believed there was another factor: the red dot logo. He took this theory onto the streets. He put a red paper sticker on his digital Panasonic Lumix (which uses Leica lenses, and is, give or take a bit of lens coating, practically a Leica without the badge), and started taking photos.

He felt bolder. He felt more able to edge himself into situations from which he previously would have shrunk. When he reviewed his pictures later, he found them to be better than those he had taken before. All of which doesn’t say much for Leica cameras, but says rather a lot about their image. The tiny red dot enclosing the word “Leica” in flowery script is the smallest piece of successful branding in the history of photography. It may also be the most alluring piece of miniature branding in the history of luxury consumerism – some logos on watches are larger. Surprisingly, its presence on cameras is relatively new, and dates only from the mid-Eighties (for a decade before, the name within the dot read “Leitz”, the name of the parent company). When I recently mentioned the forum guy’s red dot story to Stefan Daniel, Leica’s head of product development, he said, “Maybe we should just sell red dots.”

by Simon Garfield, Esquire | Read more:
Image: Martha Pavildou

Monday, November 24, 2014

Bob Dylan Plays Concert for One Insanely Lucky Superfan

Yesterday afternoon around 3:00 p.m. 41-year-old Bob Dylan superfan Fredrik Wikingsson walked into Philadelphia's Academy of Music, took a seat in the second row and prepared to watch his hero play a concert just for him. "At this point I still thought I was about to get Punk'd," he says. "I thought some asshole would walk onstage and just laugh at me. I just couldn't fathom that Dylan would actually do this."

This wasn't Punk'd, and within 10 minutes of Wikingsson taking his seat, the lights dimmed and Dylan took the stage alongside his touring band. Playing to an audience of one, they abandoned their usual repertoire and played Buddy Holly's "Heartbeat," Fats Domino's "Blueberry Hill," Chuck Willis' "It's Too Late (She's Gone)" and a blues jam that Wikingsson has been unable to identify. "I was smiling so much it was like I was on ecstasy," he says. "My jaw hurt for hours afterwards because I couldn't stop smiling."

The incredible concert was part of an ongoing Swedish film series Experiment Ensam (Experiment Alone), where people experience things completely alone that are usually reserved for large crowds. Past films focused on a lone people at comedy clubs or karaoke bars. The filmmakers thought a lot bigger for this one and made arrangements with Dylan's camp for the private show, paying him an undisclosed amount of money. "I have no idea how much it was," says Wikingsson. "But it was probably more than he gets for a normal gig."

Wikingsson's friend Anders Helgeson is the director of Experiment Ensam, and when he told him about the Dylan concept he begged to be the subject. "I had an endless series of meetings where I managed to convince people my extreme fandom made me the best candidate for the enviable task," he says. "I'm very passive and I always picture myself as the guy that wouldn't be able to save himself on a sinking ship. I'd just lay down and die. I have no real ability to grab the moment, but when I heard about this I thought, 'For once, I have to stop everything in my life and go for something.'"

by Andy Greene, Rolling Stone |  Read more:
Image: Simon Rudholm

DL Goines, Chez Panisse 2005
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The Excrement Experiment

No one knows how many people have undergone fecal transplants—the official term is fecal microbiota transplantation, or FMT—but the number is thought to be at least ten thousand and climbing rapidly. New research suggests that the microbes in our guts—and, consequently, in our stool—may play a role in conditions ranging from autoimmune disorders to allergies and obesity, and reports of recoveries by patients who, with or without the help of doctors, have received these bacteria-rich infusions have spurred demand for the procedure. A year and a half ago, a few dozen physicians in the United States offered FMT. Today, hundreds do, and OpenBiome, a nonprofit stool bank founded last year by graduate students at M.I.T., ships more than fifty specimens each week to hospitals in thirty-six states. The Cleveland Clinic named fecal transplantation one of the top ten medical innovations for 2014, and biotech companies are competing to put stool-based therapies through clinical trials and onto the market. In medicine, at any rate, human excrement has become a precious commodity. (...)

Scattered case reports in the medical literature described C. difficile patients, some on their deathbeds, who received fecal transplants and recovered, often within hours. Then, in January, 2013, The New England Journal of Medicine published the results of the first randomized controlled trial involving FMT, comparing the therapy to treatment with vancomycin for patients with recurrent disease. The trial was ended early when doctors realized that it would be unethical to continue: fewer than a third of the patients given vancomycin recovered, compared with ninety-four per cent of those who underwent fecal transplants—the vast majority after a single treatment. A glowing editorial accompanying the article declared that the trial’s significance “goes far beyond the treatment of recurrent or severe C. difficile” and predicted a spate of research into the benefits of fecal transplants for other diseases.

“Nothing in health care works ninety per cent of the time,” Mark B. Smith, a microbiologist at M.I.T. who is a co-founder of OpenBiome, the stool bank, told me. Zain Kassam, a gastroenterologist who is OpenBiome’s chief medical officer, put it this way: “It’s the closest thing to a miracle I’ve seen in medicine.” (...)

Among the desperately ill, FMT’s reputation as a wonder cure has outstripped the science supporting its use. The lure of a potential remedy that is widely available, inexpensive, and considered relatively low-risk has yielded an improvisational approach to treatment and a growing D.I.Y. transplant population. When Jon Ritter agreed to serve as a donor for Tom Gravel, the Greenwich Village Crohn’s patient, Gravel paid the charges for the blood and stool screening that Ritter’s insurance didn’t cover. But these tests can cost hundreds of dollars, and many patients are circumventing the medical system altogether. On YouTube, FMT how-to videos have received thousands of views, and on Facebook there are private forums where people trade advice about the procedure. “There are a lot of people who are doing this at home,” Lawrence Brandt, of the Montefiore Medical Center, says. “Some of them are doing it under the instructions of their physicians. Some of them are doing it by reading the Internet.” One of his patients, ill with C. difficile and unable to find a donor, asked whether she could use her dog’s feces. (The answer was no.) Another placed an ad in her local paper; more than forty-five people responded. Instances of FMT going terribly wrong are hard to find, although there have been anecdotal reports of people developing bacterial and viral infections following the procedure.

Like Mark Smith, of OpenBiome, the F.D.A. watched the surging demand for fecal transplants with concern. In the early nineteen-eighties, at least twenty thousand people became infected with H.I.V. after receiving blood transfusions contaminated with the virus, because doctors didn’t know to screen for it. Could a similar, as yet unknown threat be lurking in a donor’s stool? In May, 2013, agency officials convened a public workshop on FMT in Bethesda, where they explained that the F.D.A. considers stool to be a drug. This wasn’t particularly surprising. The agency defines a drug as any material that is intended for “use in the diagnosis, cure, mitigation, treatment, or prevention of disease.” An exception has been written into law for body parts, including skin, bone, and cartilage, which are classified as tissue. But the statute excludes most human secretions from this category.

Substances labelled drugs are subject to a rigorous approval process. Pharmaceutical companies typically spend many years and millions of dollars researching and testing a drug before submitting it to the agency for approval. Until the F.D.A. approved a fecal-transplant therapy, the procedure would be considered experimental. In order to offer it to patients, doctors would need to file an investigational new-drug application, or I.N.D., and obtain the agency’s permission. “That hit the whole field like a ton of bricks,” Smith, who attended the workshop, told me. “There was this increasing momentum around fecal transplants, and all of a sudden the whole field hit the brakes.”

I.N.D.s are intended to capture every aspect of a prospective therapy in exacting detail. At the Bethesda workshop, one gastroenterologist said that it had taken her hundreds of hours to complete the paperwork. Many others lacked the resources and staff to devote to such a task. “What do we do with the fifteen thousand patients who are really desperate for something that works?” a doctor from the Mayo Clinic asked F.D.A. officials. “If your mother shows up with severe or recurrent C. difficile, are you going to not offer something that you know how to do safely, effectively, and say, ‘I can’t do it because the regulatory agencies in the United States have decided that this requires a special licensure’?”

by Emily Eakin, New Yorker |  Read more:
Image: Oliver Munday

Miri in Love

Miri had been at her new job for two months when she got her first perk. Other employees, she knew, got perks like stock options, free massages, and gym membership. This was a start-up, after all, and that was the whole point of working for a start-up. But as the office assistant, all Miri got was a talking dildo.

Bill, her boss and the founder of TALKTOYSTOME, a distribution app that handled exclusively voice responsive, talking sex toys, was a young man, younger than Miri even, who was barely thirty. He had the questionable social skills Miri had come to expect from programmers, and as such she was only sort of surprised when he called her into his office and handed her a dildo.

The dildo’s name was James.

“Anyway, welcome to the company,” Bill said. “Have a good time with him.”

Miri did not think he was as uneasy as he ought to have been, giving a sex a toy to a subordinate, but she was also curious. She was unsure if she’d ever had an orgasm before, and James came with glowing customer reviews, and an average four and a half star rating.

Now, as she removed James from his packaging, she wondered how Bill selected this particular model for her. James seemed awfully large, and this particular model was an obnoxious shade of hot pink.

Her first and only date with James did not go well.

“You like it like that, don’t you?” James shouted. “You want me to fuck you harder, don’t you?”

Miri felt acutely uncomfortable.

She poured herself a glass of wine, but it didn’t help. Using James felt a little like humping a helicopter. To make things worse, she couldn’t figure out how to turn the volume down on him, and she was sure his stupid, booming voice could be heard through the thin walls of her apartment.

She put James away, and wondered how you even dispose of a dildo—she couldn’t just throw James in her trash. What if one of her neighbors saw? So she put James in her sock drawer, and hoped to god that Bill wouldn’t ask how she liked him.

The next day Miri wanted to tell Bo about her conversation with Bill, but Ashley wouldn’t leave him alone. Distantly, Miri could hear Bo saying “I’m just not sure what you’d like me to do,” which figured, because Ashley was the worst, and had no idea what she was doing, a reality which never stopped her from delegating. Ashley was fresh out of college and already ran their social media marketing. She spent most her time cussing loudly about vendors and fucking around on Facebook, a role in their company which, Miri had to admit to herself, made her deeply envious.

“Bo,” Ashley whined. “I need this document in legal AND in letter.”

“I’m just not sure what you’d like me to do,” Bo repeated.

Miri loved Bo.

He was tall, square-shaped and black. His full name was Bo_Laser, and also, he was a combination printer and flat bed scanner. Miri had worked with some terrible printers in her long career of shitty admin jobs, and so she could appreciate a good printer when she met one. And Bo was a good printer. Like the vibrating dildos and sucking, rubber orifices they sold, Bo talked, and was voice responsive. But unlike the sex toys they sold, his voice had been recorded by Benedict Cumberbatch, making everything he said sound, Miri thought, rather alluring.

by Maggie Tokuda-Hall, Boing Boing | Read more:
Image: via:

Google Fiber May Be Making the Digital Divide Worse


For Google, the creation of Google Fiber was a response to a very specific problem: Even though the United States is the undisputed leader in cutting-edge tech, the country’s network of broadband services is shockingly lackluster. The average download speed in the United States is slower than that of Estonia, and residential customers often pay higher prices in the U.S than in countries like France or Japan for comparable service.

The issue, at least domestically, is a lack of competition. A 2013 report by New America Foundation found that the places in the U.S. with the best Internet service were generally the ones where consumers had a variety of Internet service providers (ISPs) to pick from; however, most Americans have few, if any, choices.

The reason Comcast is the most hated company in America isn’t just because of its legendarily terrible customer service—it’s also because a large percentage of their customers don’t have any alternatives if they want high-speed Internet access. (...)

Sometime next year, the some residents of Austin, Texas, will get to experience the joy of having Google Fiber deliver piping hot Internet, undoubtedly boasting some of the fastest download speeds of anywhere on the planet, all over every last inch of their homes.

But not everyone in Austin will necessarily be able to sign up for Google Fiber, even if they are able to spare $70 a month for ridiculously fast Internet. When Google selects a city to deploy Fiber, it’s not guaranteed that every part of that city will be eligible for that service.

“[The way that cable companies historically operated,] there would often be franchise fees or build-out requirements that would make a company start building out in certain neighborhoods first or they couldn’t activate without a certain portion of the geography,” explained Brian Dietz, spokesperson for the National Cable and Telecommunications Association. “Those rules were meant to avoid new providers entering the market from being able to cherry-pick the most profitable neighborhoods.” (...)

Google, on the other hand, uses a different model. Google slices up each city into hundreds of different “fiberhoods,” which can qualify for service if enough people within each one show interest through a process called a “rally.” In Kansas City, Google dispatched employees into each individual neighborhood and worked with local community groups, sometimes employing tactics like handing out free ice cream, to hit the requisite number of households in that area to justify deployment. (...)

In November, the company unveiled a new program in Austin called Unlocking the Connection that takes this community service aspect to the next level. In a partnership with the Texas capital’s public housing authority, Google agreed to give free broadband connections to the approximately 4,300 residents of all 18 city-owned public housing projects—as long as the buildings’ surrounding fiberhoods demonstrate enough interest to quality for service.

It’s this last move that shows why Google’s methods for selecting fiberhoods is simultaneously noble and problematic. Google is able to go back, expending money and time, to the communities who were left out, even to the point of giving some of them free connections, because Google can still make money from those people just by their being online. If Verizon or Time-Warner Cable were put in the same situation, they’d have little incentive to pursue further action. (...)

“I think this [rally model] is going to catch on and it worries me greatly,” insisted Christopher Mitchell of Institute for Local Self-Reliance, a nonprofit group that advocates for the expansion of municipal broadband networks. “Google is popularizing the idea of building essential infrastructure with a market-driven approach. We don’t build roads like that—if we did, there’d be no roads in rural areas. We don’t build electricity like that—if we did, our economy could be far weaker. We recognize that those things are essential infrastructure.”

This demand-driven model is one that, even without Google, is starting to catch on nationally. With Google using Fiber as a publicity campaign for how the company would like to see high-speed broadband deployed across the board, it not only gives the company’s more traditional competitors greater incentive to discriminate based on socioeconomic geography, but it also pushes cities to let them do so.

by Aaron Sankin, The Kernel | Read more:
Image: J. Longo

How TV Took Off in a Big Way

Here are a few things that did not exist in American television 10 years ago:

Binge-watching; recapping; scripted series on networks devoted to old movies, science and history; zombies; streaming services; popular series that end just because the story is done; film-franchise adjacency; shows that begin as miniseries and then continue indefinitely; multiplatform viewing; two concurrent versions of Sherlock Holmes; A-list film directors; television shows devoted to talking about television shows; live tweeting; micro-audiences; immediate remakes of British series; any remakes of European series; European series; subtitles; cord-cutting; horrific violence; series in which the cast stays the same but the story changes; series in which the title stays the same but the story and cast change; really good computer graphics; comedies more dark than funny; amazing international locations; an overabundance of stories characterizing the many ways in which television has changed in the past 10 years.

Here's the most important thing that did not exist in the television universe 10 years ago: ownership.

Technically, the citizens of these United States have always been the proprietors of the airwaves over which television was broadcast, but it didn't feel that way. We watched what the network executives offered us when they offered it. Good television was like good weather, fleet and ephemeral; you enjoyed it while it lasted. Maybe you watched it again in reruns while you were sick or sad or trying to get ahead on the ironing. (...)

"When television became archivable, everything changed."

That's what veteran television writer Glen Mazzara said to me a couple of years ago during a conversation about the "new golden age" everyone was talking about with wearisome regularity at the time.

The show runner for "The Walking Dead" at the time, Mazzara had called me to say in the nicest way possible that it would be really great if television critics would stop comparing television to film and novels as if the comparison in itself were some huge compliment. Television was an independent art form, he said, and should be judged on its own terms.

But those terms were changing. Technology had granted the medium both a flexibility and a permanence it had lacked before. The idea that people could now watch a show in its entirety, that they could take entire seasons with them when they traveled and collect their favorites for further viewing, offered television writers a shot at something historically reserved for an anointed few: legacy.

An unexpected turn of events when you consider the dire predictions of less than 10 years ago, when many people assumed that reality would soon control almost every time slot on every network and that the television set itself would vanish, replaced by a forest of laptops and mobile phones. The scripted drama was dead, the sitcom was dead, the family hour was dead. Despairing critics and viewers imagined a world in which the broadcast networks were overrun with singing competitions, "Two and a Half Men" and the increasingly brutalized victims of "NCIS" and "CSI" while the Young People watched webisodically told narratives and YouTube.

Which, of course, they do. But they also watch television, perhaps less than previous generations and certainly on their laptops and mobile devices, but also on their flat screens; they watch it whenever they want to but also in real live-tweeting time (hello, "Pretty Little Liars.")

by Mary McNamara, LA Times |  Read more:
Image: Emiliano Ponzi

Sunday, November 23, 2014


Paul Wunderlich, Gut getroffen (Well taken), 1983.
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Robert LaDuke, Wings
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The Time I Spent Nine Hours in Jail

It Wasn't for Any Good Reason, It Was for the Dumbest Reason Imaginable

I didn't go to jail for any kind of a cool reason. I wasn't arrested at a protest; I didn't assault somebody deserving. I went to jail because I was a doofus. How I became a doofus of the magnitude I was—that's a different story.

Step one was a car accident. I caused it. It was the summer of 1998, I'd just turned 29, and I was leaving Capitol Hill in my old Volvo one late afternoon, heading back to Fremont, where I lived. I was near the old B&O Espresso, making a right turn onto East Olive Way, and I didn't leave enough room between cars going by for me to fit in, and I got rear-ended. The car behind me got rear-ended, too.

There was no place to pull over without blocking traffic, and I didn't get that I didn't have to find a great parking spot to deal with this matter. I didn't know that you can and should just stop and get out and face the music. So I did a U-y and parked on a side street across the way.

I got out of the car and checked things out. There, across the way, were two angry-looking men out of their cars, yelling at each other. I watched them do that for a spell. If this were a party, I wouldn't have gone up and introduced myself just then. It wouldn't have been the right moment.

And then I reflected for a bit on how nice it was that there were three of us, three cars involved in this accident. Each mad guy over there already had someone to yell at. Why mess with something that's worked out so elegantly? Shouldn't I just let them continue? Isn't it, in a way, more polite? Because aren't they just going to get madder and more stressed out if I go over there?

The sun was setting in the west, meanwhile—so pretty. I'd been driving west, heading to my apartment, where no men were yelling. And then I thought about the sounds of the accident. On the spectrum of sounds caused by cars making contact with other cars, I rated the sounds I'd heard at about a 2. No explosions, no crunching. Just boonk. Boonk. And so maybe this day didn't have to end with bad feelings! For me, I mean. Maybe I could just get back into my car and drive toward the sun, like I was doing, and then take a right and be home, all by myself, the evening my oyster.

So that's what I did.

We have to double back now to an earlier bad decision, one that took place seven years before the car accident. A group of people in a bar was proclaiming that my friend Caitlin and I would never get tattoos. The implication was that we were pussies. Well, fuck these people. We weren't pussies. Caitlin and I vowed right then and there that not only would we get tattoos, we would get them the very next morning.

After the sun came up, Caitlin pulled up in front of my apartment in her little Corolla and we drove to the tattoo parlor. Caitlin already knew what she was going to get, AS YOU SHOULD WHEN YOU ARE RIGHT ABOUT TO GET A TATTOO. She was going to get a small blue rose on her left shoulder. I didn't know what I was going to get. I only knew that I wasn't a pussy.

Caitlin went first, and I flipped through the idea book to see what I maybe wanted on my body for the rest of my life. Eventually I saw a little picture of the Cat in the Hat. This seemed kind of good. I liked Dr. Seuss. That book was pretty good. Not a favorite, necessarily, but hey. Good enough. Done. And so I got a small, meaningless, shitty Cat in the Hat tattoo on my left shoulder, right where it would show if I were wearing a tank top and standing on a side street on Capitol Hill and somebody who'd witnessed a car accident could use it as an identifying characteristic when they reported the person who caused it leaving the scene of said accident to the police.

by Tina Rowley, The Stranger |  Read more:
Image: Mike Force

Aaron Rodgers: Master of the Hard Count


During every Green Bay training camp, an inexperienced defensive lineman rotates in for a play or two, and quarterback Aaron Rodgers stifles a laugh. He glances at the Packers’ defensive line coach, Mike Trgovac, who knows precisely what Rodgers is about to do but is powerless to stop it.

Toward the end of his cadence, just before Rodgers calls for the ball to be snapped, he articulates the word “hut” with such gusto that the poor lineman bulldozes over the line of scrimmage, goaded offside by the N.F.L.’s leading expert in pre-snap subterfuge.

Just as valuable an asset as his arm strength, mobility and microprocessor of a brain is Rodgers’s voice, loaded with bass and thump and a tinge of soul. With it, he has coaxed eight neutral-zone infractions this season — including three in the first 21 minutes against Carolina last month — by using rhythm and inflection to exploit defenders’ aggressiveness, a tactic known as a hard count.

When deployed, it puts stress on the opposition, forcing players to ponder a challenge besides merely trying to thwart Rodgers, the league’s best quarterback for the past two months. It slows the pass rush, reveals potential blitzers and helps Rodgers decipher a defense, uploading critical data about its alignment and assignments.

The tactic can enable Green Bay to steal 5 free yards via a penalty, and sometimes — in third-and-short situations, especially — that is the team’s objective. But because the play often continues after the flag is thrown, Rodgers immediately looks to throw downfield for a long gain.

“He’s a master at a lot of things,” the ESPN analyst Trent Dilfer said, “but he’s completely mastered this.”

by Ben Shpigel, NY Times | Read more:
Image: Jeff Haynes/Associated Press

Saturday, November 22, 2014


H. Alan Cheung, Chinese Graffiti II (1995).
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Talking Heads


[ed. The apartment building in 'Singles', one of my all-time favorite movies. See it here, with a cameo by Chris Cornell of Soundgarden. I think that's Janet's car out front (with new windows).] photo: markk