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Take a look at this impressive, heavily loaded Bloody Mary, served at O'Davey's Irish Pub & Restaurant in Fond du Lac. (Also known as Davey's.)
This ultimate hangover cure is topped with an extensive beer chaser consisting of pop corn, bacon, peanuts, beans, sausage, pretzel, sliders, a pickle and (this is Wisconsin after all) a cracker and cheese curd. Plus a Brewers flag.
Wildest Bloody Mary you've ever seen creating buzz for Wisconsin [Gitte Laasby/Journal Sentinel]
(Thanks, Fipi Lele!)
As the 3D printed gun story unfolds, many (including me) have noted that you can't print ammo. However, you can print shotgun slugs on a 3D printer, but they suck:
Heeszel was surprised at the first two. “I didn’t think it would go through the first piece of wood at all, much less hit anything,” he says. But he also called them more of a novelty than a practical bullet. “I thought the thing was kinda lame, but I realize there’s a lot of novelty with the 3-D printed gun, and I thought it was kind of timely. But overall I think they’re kind of crappy little rounds,” he adds...
“I might be a redneck from Tennessee, but I love the technology,” Griffy says. Griffy, who runs a YouTube account ArtisanTony — where he also shows off a printable knife and buckshot rounds — tells Danger Room he printed the slugs more for their own enjoyment. “Because a real gun shooting plastic bullets is more fun than a plastic gun shooting real bullets,” he says. “You have to spend six hours printing a barrel that you’re going to use one time, and it’s not as much fun. It’s more about the enjoyment and the sport. And if you’re having to labor that much, then the enjoyment goes away.”
Griffy says he printed the slugs with a Solidoodle 3 3-D printer — which retails for $800 — using ABS thermoplastic using dimensions from one of Heeszel’s non-printed slugs. Griffy then created the computer-aided design files, converted them to a stereolithography format, and checked the files for inconsistencies with the 3-D printing software Netfabb. He also designed slugs in three sizes. The largest slug takes about an hour to print. The others take about 30 minutes. He also added a lead ball to each slug to give them more weight. The final step was mailing them to Heeszel, who fitted the slugs into hollowed-out — non-printed — shotgun cartridges.
Watch 3-D Printed Shotgun Slugs Blow Away Their Targets [Robert Beckhusen/Wired]
As legions of disappointed Batman fans have discovered, the Victor Hugo novel is just not very good. It's one of Hugo's later works, written from exile in the Channel Islands, and it's a meandering political treatise grafted onto a novel. But there is a novel in there, buried amongst the self-indulgence and sloppiness, and it's this that author David Hine and illustrator Mark Stafford have teased out to make an absolutely stunning and grotesque new work.
The titular Man of Laughs is Gwynplaine, a horribly deformed boy who rescues a blind baby from her frozen mother's breast and then rescued by a traveling doctor who takes them both in and turns them into performers. They tour the countryside, and Gwynplaine and his blind adopted sister Dea fall in love, even as their mountebank father, Ursus, teaches them about the injustices of the English monarchy and shows them the relationship between the dire poverty around them and the fatted lords and ladies in London.
Gwynplaine's destiny becomes further entangled with the English aristocracy when he is discovered to be a long-lost nobleman himself, and is inducted into the House of Lords, where he makes impassioned, revolutionary speeches that fall on deaf ears -- and is forced to confront that all the riches he's gained have cost him his family and his love.
This adaptation is remarkably streamlined and razor-sharp, flensed of Hugo's excess by Hine's pen; the accompanying grotesque illustrations by Stafford hit the perfect mix of horror and sorrow. The Man Who Laughs is out in the UK now, from the great press Self Made Hero, and will be out in the USA on Oct 1.
Somebody leaked the video for Daft Punk's "Get Lucky!" (Thanks, Gabe Adiv!)
UPDATE: "Vimeo has removed or disabled access to the following material as a result of a third-party notification by The David Foster Wallace Literary Trust claiming that this material is infringing: THIS IS WATER - By David Foster Wallace."
Here's a beautifully made video accompaniment to "This is Water," an excerpt from a David Foster Wallace commencement address to Kenyon College in 2005, in which Wallace exhorts his listeners to empathize with the people around them, using examples and languages so beautifully chosen that they just about break your heart.
Transcription of the 2005 Kenyon Commencement Address - May 21, 2005 (via Lifehacker)
But most days, if you're aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made-up lady who just screamed at her kid in the checkout line. Maybe she's not usually like this. Maybe she's been up three straight nights holding the hand of a husband who is dying of bone cancer. Or maybe this very lady is the low-wage clerk at the motor vehicle department, who just yesterday helped your spouse resolve a horrific, infuriating, red-tape problem through some small act of bureaucratic kindness. Of course, none of this is likely, but it's also not impossible. It just depends what you what to consider. If you're automatically sure that you know what reality is, and you are operating on your default setting, then you, like me, probably won't consider possibilities that aren't annoying and miserable. But if you really learn how to pay attention, then you will know there are other options. It will actually be within your power to experience a crowded, hot, slow, consumer-hell type situation as not only meaningful, but sacred, on fire with the same force that made the stars: love, fellowship, the mystical oneness of all things deep down.
Not that that mystical stuff is necessarily true. The only thing that's capital-T True is that you get to decide how you're gonna try to see it.
The RIAA has submitted its latest Form 990 tax filing to the IRS, which details the organization's precipitous shelving off in budget and employees (though the execs gave themselves fat raises):
The drop in income can be solely attributed to lower membership dues from the major music labels. Over the past two years label contributions have dropped to $23.6 million, and over a three-year period the labels cut back a total of $30 million, which is more than the RIAA’s total income today.
The cutbacks are not immediately apparent from the salaries paid to the top executives. RIAA Chairman and CEO Cary Sherman, for example, earned $1.46 million compared to $1.37 million the year before. Senior Executive Vice President Mitch Glazier also saw a modest rise in income from $618,946 to $642,591.
...The reduction in legal costs is even more significant, going from to $6.4 million to $1.2 million in two years. In part, this reduction was accomplished by no longer targeting individual file-sharers in copyright infringement lawsuits, which is a losing exercise for the group.
Looking through other income we see that the RIAA received $196,378 in “anti-piracy restitution,” coming from the damages awarded in lawsuits against Limewire and such.
RIAA Makes Drastic Employee Cuts as Revenue Plummets [Ernesto/TorrentFreak]
The Atlantic's Hugo Schwyzer has a theory: that masturbation, as the most common sex act, is the heart of modernity's war between Christianity and secularism.
Many progressives were bewildered by Antonin Scalia's blistering 2003 dissent in Lawrence v Texas, in which he warned that state laws against evils such as "adult incest, prostitution, masturbation, adultery, fornication, and bestiality" might be invalidated as a result of the decision. Why, liberals wondered, was masturbation included on that list? The answer is simple: masturbation remains not only a grave sin in the eyes of the Catholic Church to which Scalia belongs, but its acceptance as benign and healthy is perhaps the foundational error of modern sexual culture.
Canadian artist Howie Tsui redesigned a pinball machine to turn it into a crude simulation of a musket-ball rattling around a soldier's guts for a War of 1812-themed exhibition currently running at the Agnes Etherington Arts Centre at Queens University in Kingston. It's meant to demonstrate the way that repetition and concentration can inure you to the horrors of war:
The first part of his exhibition is a re-themed pinball machine, which now, having been Tsui-ed, is called Musketball! Tsui repainted the front glass panel and it now shows a British soldier reeling back as his guts explode from a musket shot (no rolling around inside for this one). The playing surface is painted with organs, tissue and bone, with the words “mangled viscera” at midfield. It would all be tame in a modern shooter video game, but it’s shockingly graphic on a vintage board.
I step up to the game and fire my first ball, which gets back in the gutter faster than I thought possible. I fire the second ball — which I note are gold, not silver, to which Tsui says, “I kind of blinged it up a little bit.” This ball stays in play just long enough to hit a few bumpers and set off sound effects of rifle shots and artillery blasts. I fire my remaining three balls, and my final score is slightly less than one-tenth of Tsui’s high score. “It’s your first time playing. I had to do a lot of testing,” Tsui says, showing he’s also talented in the art of diplomacy.
“After a while,” he says, “you sort of get hooked on the game, and the whole idea for me is that it distances the player from the idea of violence.”
Pinball, bones and animal skins: Howie Tsui’s wonderful horrors of the War of 1812 [Peter Simpson/Ottawa Citizen]
Three men have been convicted of forging £1 coins. The London Police Detective Inspector even got all quippy about the sentencing ("These three men are organised criminals who were intent on undermining the UK monetary system. There is nothing fake about the reality they must now face of life behind bars." -- yes, yes, very clever DI South) but what fascinates me about the story is that it can somehow be profitable to forge £1 coins.
I got passed a fake pound shortly after I first moved to the UK, almost ten years go; it was a foil-wrapped plastic slug. Not realizing it was fake, I tried to buy something with it at a corner shop and the cashier pressed it edge-on on his counter and the foil split open, revealing the green plastic disc inside.
From the sound of this article, these fakes were solid metal, which, I think, would make them more expensive than the fake I got. When you add the costs of the materials, the wages for the manufacturing process, warehousing, the discount for counterfeit cash, etc, it's hard to believe that this was worth anyone's while.
On the other hand, it's probably easier to go on counterfeiting when you're passing very small denominations as most people (me included) won't bother going to the cops over a mere pound; and it's much harder to remember where a given pound coin came from than a £20 note.
The court heard Fisher, of Rags Lane in Goffs Oak, Hertfordshire, Sullivan, of Bancroft Chase in Hornchurch, east London, and Abbott were arrested during an undercover police operation in Essex last May.
Police found a storage container with 1.6 million metal discs inside and fake coins equivalent to £20,000.
Fake coins equivalent to a further £30,000 were found in a nearby car.
Fermilab just got a new Awesome Magnet, a 50'-wide jobbie that can't be tilted by more than a few degrees without suffering irreparable harm. It's in New York, though, and Fermilab is outside of Chicago, and this presents a logistical problem with a complicated solution:
The Muon g-2 ring, an electromagnet made of steel and aluminum, begins its 3,200-mile trek from New York in early June. From there, it will sail by barge down the East Coast, around Florida's tip into the Gulf of Mexico, then up the Mississippi River until it arrives in Illinois.
Once on land, the electromagnet will be driven at night in a specially designed truck at no more than 10 mph until it reaches Fermi National Accelerator Laboratory.
The high-tech transport is all in service of a plan to use Fermilab's powerful beam to send muons, a rare kind of particle that lasts just 2.2 millionths of a second, into the circular electromagnet, according to experiment spokesman Lee Roberts, who works at Fermilab. Once in the ring, muons "wobble," or tilt like a top.
Huge magnet set for delicate voyage to Fermilab [Alexa Aguilar/Chicago Tribune]
A Brazilian ad agency has built a campaign for Domino's "Pizza" that uses a heat-sensitive coating on rented DVDs; when the disc is played, the heat from the player heats up the coating and causes it to emit a pizza-like odor; the coating also changes appearance and becomes a picture of a pizza with an ad for Domino's.
In partnership with 10 video rental stores in Sao Paulo and Rio de Janeiro, the brand used rented DVDs as media. About 10 discs each of 10 different new release titles such as Argo, 007, Dread And Dark Knight were stamped with thermal ink and flavored varnish, both sensitive to the heat.
While people were watching the movie, the heat of the DVD player affected the disc. When the movie ended and they ejected the disc, they smelled pizza. They also saw pizza: the discs were printed to look like mini pies, and carried the message: "Did you enjoy the movie? The next one will be even better with a hot and delicious Domino's Pizza."
Ben Marks, our pal at Collectors Weekly, says, "We just published an article on Zoe Mozert, Pearl Frush, and Joyce Ballantyne, who created some of the most memorable pin-up art in the 1940 and '50s. While most people today associate pin-up art with male artists like Alberto Vargas, George Petty, and Gil Elvgren, the contributions of these women are every bit as important, and their work every bit as good. For her article, associate editor Lisa Hix interviewed a number of authorities on pin-up art, from art dealer and author Louis K. Meisel to Marianne Ohl Phillips, who got to know both Mozert and Ballantyne before they died.
“You find mistakes in the male paintings,” Phillips told me. “Elvgren’s got a famous painting where she’s got two left feet, and there are just these things that don’t fit every once in a while. The women never made those mistakes. I think they looked in the mirror a lot and they got things more right. The men tended to make the breasts larger, and they made the legs longer. The women tended to paint very proportionate women, more of a 36-26-36 look, whereas men would make them a little top-heavy.”
I wish I did have the time to reply to everybody individually but I don’t. I think I’ll only comment on any of the posts if there’s something factually wrong mentioned in them, and so far the only point I can remember is one where an ex-neighbour of ours recalled (in an otherwise entirely kind and welcome comment) me telling him, years ago, that my SF novels effectively subsidised the mainstream works. I think he’s just misremembered, as this has never been the case. Until the last few years or so, when the SF novels started to achieve something approaching parity in sales, the mainstream always out-sold the SF – on average, if my memory isn’t letting me down, by a ratio of about three or four to one. I think a lot of people have assumed that the SF was the trashy but high-selling stuff I had to churn out in order to keep a roof over my head while I wrote the important, serious, non-genre literary novels. Never been the case, and I can’t imagine that I’d have lied about this sort of thing, least of all as some sort of joke. The SF novels have always mattered deeply to me – the Culture series in particular – and while it might not be what people want to hear (academics especially), the mainstream subsidised the SF, not the other way round. And… rant over.
Banks is dying of cancer, and it's an awful shame.