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The Fader, June 4, 2014

Read a candid interview with one of the era’s most controversial stars, on fame, feminism and her new album, Ultraviolence.

The camera zooms in on Lana Del Rey as she turns away from the crowd, hiding all but the slightest silhouette of her face. In the background, a massive screen flickers deep purple and blue; beside her on stage sits a potted palm. For one full minute: riotous, embracing applause. Gently, she wipes a tear with the middle finger of her left hand, then wipes her nose, which from this angle appears as the bottom-half of a perfectly slender S curve that begins on her forehead, shimmies down her face and ramps off into the void. Finally, she turns to address the audience, smiles and says, “I think you’re going to have to sing it for me.” The piano starts, and everyone complies, very loudly and very clearly. She tries to sing too, of course, then pauses to cry and smile at the same time, seemingly overwhelmed by the audience’s affection. But no one else stops singing: It’s you, it’s you, it’s all for you…

Lana Del Rey, the singer whose entire self so often seems a carefully constructed display, didn’t conceive of this scene, like she has the many music videos that helped propel her to fame. First came the eerily star-foreshadowing montages of 2008, in which she stitched together found footage and vamped in front of an American flag under her given name, Lizzy Grant. Back then, sometimes she’d make four videos for the same song, but most times, nobody much saw them. Next came “Video Games,” which applied that same cut-up look to a slightly fuller sound, and thrust Grant, now singing as Lana Del Rey, from bedroom clips to blockbusters. Then the big budgets arrived: she sat on a throne backed by two tigers in the video for “Born to Die,” embodied both Jackie O and Marilyn in a span of minutes for “National Anthem” and, for "Tropico" lounged with Elvis and John Wayne in CGI heaven. Lana Del Rey’s filmography is a master class on how to build an icon, and yet, no footage feels like proof of her iconicity as much as the shaky clip of a teary 2013 performance, shot on a phone by a fan in Dublin.

I ask her why she was crying. “I’d been sick on tour for about two years with this medical anomaly that doctors couldn’t figure out,” she says, to my surprise. “That’s a big part of my life: I just feel really sick a lot of the time and can’t figure out why. I’d gotten these shots in Russia, where we’d just been. It was just heavy. It’s just heavy performing for people who really care about you, and you don’t really care that much about yourself sometimes. I thought it was sad. I thought my position was sad. I thought it was sad to be in Ireland singing for people who really cared when I wasn’t sure if I did.” I’d expected self-congratulation, the triumph of finally making it. You never really know.

We’re speaking in the Brooklyn backyard of this story’s photographer, and she’s wearing one of his shirts. It fits her poorly—probably a men’s XXL—and with her hair and makeup done up for the cover shoot, she gives the impression of a young lumberjack’s date the morning after prom. She must know this. They’d been taking the photos in the house earlier, in an attempt at a more laid-back glimpse of a star known for her Hollywood glamour, when she noticed a rack of his vintage clothes and asked to pull from it. More than raw beauty, hers is the gift of producing a precise effect; voilá, she looks like somebody’s girlfriend.

It’s a few weeks before the release of her second major-label album, Ultraviolence, and like any artist with over a billion YouTube views, the 27-year-old Lana Del Rey is blessed and cursed with a punishing schedule. By the time I click off my recorder, after nearly 90 minutes, her publicist has twice come out to end the interview. In both cases, she rebuffs him. Barefoot, she carries a casualness with hardly a hint of the imperious pop star I’d expected; she’s excited, pensive, a little bit apprehensive. After, she tells me it’s the longest interview she’s ever done.

From the backyard where we sit, through an old screen door with a frame rimmed in dried-out vines, I can always hear her entourage. Among the six or seven inside, there’s her bodyguard, formerly employed by Brad Pitt, and her British stylist, Johnny Blueeyes, who during the shoot was prone to bursting into the room and crying, “You’re a staaaar!” The whole team, she says, was hired in 2011, after “Video Games” attracted offers from Interscope and Polydor. “I met everyone the same week,” she says. “Because I was very shy, I just sort of stuck with them.” Later, she mentions the staff again, by way of self-analysis. “I’m never the star of my own show,” she says. “I have a very complicated family life. I have a complicated personal life. It’s not just my life, it’s everyone else’s in this extended family unit. It’s always about someone else, even with the people I work with. I’m the quietest person on the set, generally. I’m actually the one that’s trying to keep it all together. It’s pretty weird. It’s a weird, weird world.” She’s chain-smoking Parliaments.

Everyone knows Lana Del Rey’s so-called true identity: she was born Elizabeth Grant, daughter to an entrepreneur who sold domain names. In the press, there’s been a perverse joy in labeling her a phony, whether that’s regarding her supposedly surgically enhanced lips (she has always denied this), or the rebranding that marked her early career. She was born in Lake Placid, in upstate New York, and went to boarding school in Connecticut. When she first started doing shows in 2006, while studying metaphysics at Fordham University in the Bronx, it was with a folky bent and a guitar that her uncle taught her how to play. The F chord was too hard, she later told the BBC’s Mark Savage—“Four fingers? Never going to happen”—but she recorded an acoustic album as May Jailer just the same. (That record, Sirens, was never released, though it eventually leaked online.) In 2008, while still in college, she signed a $10,000 record deal with an indie label called 5 Points and moved to a trailer park in North Bergen, New Jersey. index Magazine filmed a giddy interview with her there; she appears in a car mechanic’s windbreaker, her platinum blonde hair tied up with a baby blue scarf, and, when asked about the “very cohesive package” of her musical identity, says, “It has been a lifelong ambition and desire… to have a defined life and a defined world to live in.” During this period, she teamed with David Kahne, a producer for Paul McCartney and The Strokes, and developed a more idiosyncratic sound for her self-penned lyrics, with affected jazz vocals, synthesized orchestra sections and hip-hop drums—an uncanny mix of old and new. Under the name Lizzy Grant, she released an EP, Kill Kill, and recorded an album, Lana Del Ray A.K.A. Lizzy Grant, which sat on 5 Points’ shelf for two years before it was digitally released in 2010. By then, she’d gone brunette with swooping Veronica Lake curls, and was spending time in London in search of another deal. With the help of a newly hired manager and lawyer, she bought back the album rights and pulled it from the market. Henceforth, she would be known as Lana Del Rey.

But her past was still there in traces online, the story of a small-town girl with big dreams and the cunning to change herself to make them come true. It’d be an all-American tale, if only she seemed self-made; instead, there was a discomfiting sense of someone else behind the scenes, orchestrating a bait-and-switch with secretly funded videos that only slummed their DIY aesthetic. For an artist who broke online, her father’s background raised red flags—beside selling domain names, he’d worked in advertising and helped market her Lizzy Grant releases. And there was a suspiciously short time between “Video Games,” which was listed by many blogs as a self-release, and the announcement that she’d signed with two major labels. In any case, she was never especially embarrassed about her ambition; rather, she embraced it as a defining trait. On “Radio,” the pluckiest song on Lana Del Rey’s relentlessly downtrodden debut, Born to Die, she sings of success like a taunt: American dreams came true somehow/ I swore I’d chase em until I was dead/ I heard the streets were paved with gold/ That’s what my father said… Baby, love me cause I’m playing on the radio/ How do you like me now? She was a star who announced her own arrival, singing of fame with a wistfulness even as she was just beginning to taste it.

Many critics were bristled by her supposed fraud. The New York Times’ Jon Caramanica pronounced Lana Del Rey D.O.A. in a scathing review, concluding with: “The only real option is to wash off that face paint, muss up that hair and try again in a few years. There are so many more names out there for the choosing.” Pitchfork’s Lindsay Zoladz called Born to Die “the album equivalent of a faked orgasm.” It was an unusual time for music, with major labels chasing the internet’s whims by poaching unproven newcomers off the strength of a viral track and a look. For skeptics, Lana Del Rey became a symbol of puffed-up online buzz itself. (Before Zoladz’s 5.5 review, Pitchfork had notably awarded “Video Games” Best New Track and granted her a Rising profile, ostensibly reserved for artists they recommend.) The Hipster Runoff blogger Carles, a one-man peanut gallery to the indie press, was Lana Del Rey’s most visceral and obsessive critic, but also one of the most insightful, because criticizing her always came hand-in-hand with criticizing himself and the music web’s ceaseless appetite for breaking artists to sell to brands (or take down in think pieces). He called it their “dark, abusive, co-dependent relationship on the content farm.”

But as it turns out, a lot of music fans didn’t care. Today, Born to Die has sold over 7 million copies worldwide, more than Beyoncé’s last two albums combined. Ten months after the LP’s release, her Paradise EP debuted in Billboard’s top 10. Eight months later, Cedric Gervais’ EDM remix of “Summertime Sadness” went platinum; soon after, her song for The Great Gatsby soundtrack, “Young and Beautiful,” went platinum, too. On that last track, a haunting orchestral number, she directly addresses her own status and the position of many a woman, pop idol or not: Will you still love me when I’m no longer young and beautiful? Sometimes her songs drag long, and sometimes her self-seriousness can be grating, but in beautiful moments such as that, with her voice situated among an aptly hot-blooded score, Lana Del Rey’s confidence about her own vulnerability transcends melodrama into the realms of great art. In the period since her big authenticity reckoning, one thing has become clear: accusations of constructedness would not crush her. She says they came close, though. Shortly after the release of “Video Games,” she started dating another musician, Barrie-James O’Neill. According to a profile of her in Nylon, he first phoned her out of the blue after his manager sent him the video with the caption “Your future ex-wife.” I ask what he was like during the period of her most pronounced attacks. “He was worried,” she says. “I was, you know, a mess. I totally wanted to kill myself every day.”

Over the years, four themes have come to define her lyrics, whichever the persona: indecisiveness, submissiveness, reverence for American icons and self-destructiveness, both within herself and the men she idolizes in song. It’s a lot of “He Hit Me (And It Felt Like A Kiss),” and in fact, she quotes that infamous song unwinkingly on the title track of Ultraviolence, before continuing, You’re my cult leader, I love you forever, I love you forever. The consistency at which these four themes appear in her music suggests not quite a foxy con artist, but rather someone moving superficial pieces around themselves—a name, a look—until they find a comfortable identity, much like anybody navigating young adulthood. So I ask her what she was up to with those old Lizzy Grant videos, when she’d don a Marilyn Monroe wig, drape herself in the stars and stripes and blow the webcam a kiss. “Honestly, I feel like it’s more of a girl thing,” she says. “I was just kind of playing, and, literally, I’m still playing. For me, being this way and dressed like this isn’t different than being out in a wig. It’s all the same to me. It’s all nothing, it’s all everything. I could really go any way. I’ve lived a lot of different lives. I lived down in Alabama with my boyfriend, I lived here in Brooklyn and in Jersey. I’ve been a lot of different people, I guess.”

There’s a monologue that opens her “Ride” video, which she tells me is autobiographical. Part of it goes like this: “I was always an unusual girl. My mother told me I had a chameleon soul. No moral compass pointing due north, no fixed personality. Just an inner indecisiveness that was as wide and as wavering as the ocean.” In the video, she has sex with a 40-something biker on a pinball machine. In “National Anthem,” she’s married to A$AP Rocky, who portrays a black president who likes to shoot dice. In “Tropico,” she runs with a Hispanic crowd. In a number of others, she’s with a scrawny white guy with tattoos. The men change but sex is constant; Lana Del Rey embodies searching for yourself in someone else. “I don’t really know what I’m doing,” she tells me at one point. “I’m trying to do what feels right. I tried a lot of different ways of life, you know, things I never really talk about, just because they are kind of different. I didn’t really have one fixed way that I could envision myself living. Going from a good relationship to a good relationship—I thought that was healthy.”

Her portrayal of those relationships, though, has prompted mixed reviews among feminists. Some criticize the way she seems to idealize powerlessness and servitude, while others appreciate her fluid embodiment of different identities, as well as her candor about both her desire and her weakness. In any case, her comments on the subject will be disappointing for both camps: “For me, the issue of feminism is just not an interesting concept,” she says. “I’m more interested in, you know, SpaceX and Tesla, what’s going to happen with our intergalactic possibilities. Whenever people bring up feminism, I’m like, god. I’m just not really that interested.” Fortunately, her ambivalence about politics doesn’t undo any subversiveness that may be embedded in her work (though, nor does it excuse any ill it may cause). When pressed, she adds, more illuminatingly, “My idea of a true feminist is a woman who feels free enough to do whatever she wants.” I ask her why she’s always being choked in her videos, and she gives a fitting answer: “I like a little hardcore love.” That raises an important point: she’s the one willing these scenarios into existence, romanticizing the very things that hurt her. She writes her own songs and music video treatments, and a similar self-mythologizing applies to her interviews, too. In a Lizzy Grant-era piece for the Huffington Post, she told a reporter, “Strangest performance: Alone in a basement for a handsome record executive. Strangest [song] ever written: Back at his office while I was making out with him.” When I ask her if she regrets joking like that, given how often people perceived her as a puppet of some executive team, she says, no, the story was true: “I had a seven-year relationship with the head of this label, and he was a huge inspiration to me. I’ll tell you later when more people know. He never signed me, but he was like my muse, the love of my life.” Rather than shying away from the snake pit that is sex and power, she walks right in. On Ultraviolence, there’s a song called “Fucked My Way Up to the Top.”

But is she happy now that she’s there? No matter what, her singing voice seems so sad. In an essay called “The Meaning of Lana Del Rey,” a French academic named Catherine Vigier offers one explanation: “She is representing and speaking to a contradiction facing thousands of young women today, women who have followed mainstream society’s prescriptions for success in what has been called a post-feminist world, but who find that real liberation and genuine satisfaction elude them.” Vigier goes on to argue that, for women living under capitalism, there can never be happiness—not through money, nor celebrity, nor even love—and she says the music makes this point clear. So there you have it: a post-feminist, socialist reading of Lana Del Rey. There’s a queer reading available, too, if you consider her identity-play synonymous with dressing in drag, as Christopher Glazek did in Artforum, calling her a “great queer performance artist.” With Lana Del Rey, everybody’s a critic, and any interpretation is possible.

By the time of Ultraviolence’s release, those infinite opinions have long since canceled each other out, leaving room for listeners to take up a more subjective relationship with her music without the pressure of coming up with something clever. Compared to Born to Die, the new album sounds far more like straight-up rock music, recorded in live takes with a Nashville band assembled by producer Dan Auerbach. She’s withdrawing from contemporary pop, a space in which she says she never felt comfortable; gone are the genre-blurring samples that gave her debut the impression of trying too hard to be trendy. The album feels like a sprawling American desert, devastatingly huge, windswept by shrieking electric guitars. Lana Del Rey is surrounded by ghosts and completely alone, the last lines of her verses reverbed out and leading nowhere forever. We could go back to the start, she sings on the title track, but I don’t know where we are. Certainly the rock ballad suits her retro preoccupation; the lead single “West Coast” evokes the opening riff of The Beatles’ “And I Love Her” and the chord progression from The Stooges’ proto-punk “Dirt.” She seems to have found confidence in psych-rock and narcotized swing.

One of the most telling lines from Born to Die was on the song “Off to the Races”: I’m not afraid to say that I’d die without him. Within the self-contained world of that album, this was both a low-point and a high-point, with Lana copping to utter reliance on men but also having the self-awareness to say so. On the Ultraviolence standout “Brooklyn Baby,” she exalts her band-leader boyfriend for a few verses, then lands on this uncharacteristically self-assured gem: Yeah, my boyfriend’s really cool/ But he’s not as cool as me. I ask her about the line, and she says, “That wasn’t even supposed to be there, and I kind of sang it with a smile, and Dan was looking at me and laughing. I’m just kind of fucking around.” She’s already convinced everyone else of her worth, but here she seems to have finally convinced herself.

In that Lizzy Grant interview with Huffington Post, she spoke of her love of American icons: “All the good stuff is real but isn’t, myself included… Whatever you choose to be your reality is your reality.” You can be the president’s wife, as in “National Anthem,” and you can be his mistress; you can be a stripper and you can be Eve, as in “Tropico”; it doesn’t matter which version of yourself came first when you can be everything at once. That’s a powerful thought, and I’m not sure she even completely understands it. “My career isn’t about me,” she tells me at one point, lamenting the misunderstandings about her that she says have riddled her critics’ attacks. “My career is a reflection of journalism, current-day journalism. My public persona and career has nothing to do with my internal process or my personal life. It is actually just a reflection on writers’ creative processes and where they’re at in 2014. Literally has nothing to do with me. Most of anything you’ve ever read is not true.” We don’t know who she is, but you know what? Neither does she.

As she moves from one character to another in her music videos, and from one type of man to another, from one recording alias to another, Lana Del Rey performs not just existential crisis but the power to blindly push through it. On Ultraviolence’s “Money Power Glory,” she sings, My life it comprises of losses and wins and fails and falls, a line immediately followed by more self-sacrifice: I can do it if you really, really like that. Even if she’s only adapting to curry favor, isn’t that what we all do? We perform identity every day, tweaking ourselves for a boyfriend and a boss. Using the very idea of malleability, Lana Del Rey has fashioned herself a superstar, setting to music the human drama of altering yourself to survive and rise. Still, she’s enamored with self-destruction, and perhaps shapeshifting is also about precisely that: you play so many characters that you lose any stable sense of yourself, so that when you’re standing in front of a crowd, for example, and they’re screaming your praises, your response is confusion and tears.

At shows these days, she takes breaks between songs to sign things and take pictures with fans. A recent reviewer described the crowd’s reception as hitting “approximately jet-engine volume”; a music executive who saw her said it was like she was The Beatles. But talking to her, reality bends until only sadness seems like an appropriate response. That raincloud-eyed, tattooed guy who always appears in her videos, from “Blue Jeans” to “West Coast”—his name is Bradley Soileau. Toward the end of our talk, I ask her why she has used him so much. “I like Brad because I respect him that he’s free enough to use his body as a canvas,” she says. “He has a quote about war written across his forehead. I like that he knew that alienated him from society in a way that he couldn’t work regular jobs. He made a conscious decision and manifested it physically that he was going to be on the periphery. I like what that symbolizes.” That sounds a lot like what happens to someone when they become a famous musician, I tell her. There’s no going back for her either. “That’s true,” she says. “It’s pretty fucked up.” A stray cat tip-toes across the fence surrounding the backyard, and Lana Del Rey lights another cigarette. I ask her what she misses the most. “I miss everything.”

Originally published on thefader.com with the headline Lana Del Rey Is Anyone She Wants to Be, and in the June/July 2014 issue of The Fader with the headline Miss Everything.

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🔐 Why You (Probably) Don't Need A VPN

A rant by a software engineer sick of VPN ads from her favourite YouTubers

TL;DR:

Here are some legitimate reasons the average internet user might want to use a VPN:

To connect to their company's internal network

To bypass the Great Firewall of China (or other types of website blocks at country or organisation level)

To watch Netflix etc as if you were in another country

Here are absolutely rubbish reasons to use a VPN:

Privacy

And today, I'll tell you why.

Hang on, won't a VPN stop hackers from stealing my passwords?

I mean, it does encrypt the web traffic coming from your device.

You know what else encrypts web traffic coming from your device? Your browser.

Yes, in the year 2021, pretty much all websites on the internet are accessed over HTTPS. The "S" stands for "secure", as in "your request will be securely encrypted". If your browser is using HTTPS, nobody can capture the data you're sending over the internet. More detail in the "I like too much detail" section at the bottom of this post.

It's very easy to check if you are using HTTPS by looking at your URL bar. In most browsers, it will have a lock on it if secure:

(From top left to bottom right: Chrome on iOS, Safari on iOS, Chrome on Windows, Edge on Windows, Firefox on Windows, and Safari on Mac. Screenshots reflect the UI at the time this post was written. Oh gosh this has taken over 4 hours to write.)

But isn't moar encryption better? What if somebody breaks HTTPS?

For starters, nobody's breaking your HTTPS, and there isn't any benefit from double encrypting. This is because of the maths behind encryption/decryption!

Encryption works kinda like a lock and key, except the lock is maths and the key is a special number only known to the person allowed to unlock the information.

The important thing is, without the key, all the locked data looks like complete and utter garbage. Completely unusable. Barely distinguishable from random noise. There's absolutely no way to tell what the original data was.

The other important thing is that the key is nearly unguessable. As in, with current technology, will generally take more than the lifetime of the universe to guess by chance. And when technology gets faster, we just make the numbers bigger again until they're once again secure.

For any major website you use, they will use a strong encryption algorithm (ie lock) with big numbers so your keys will be strong enough to withstand an attack. This means your data is safe as long as that lock icon is in your URL bar.

A VPN will not make the existing garble any more garbled. The extra $10/month or whatever you're paying for does not buy you any extra protection.

If you want to know more about how encryption and HTTPS in particular work, see the "I like too much detail" section at the end of this post.

Something something viruses

How's a VPN going to stop viruses? It controls the path your internet traffic takes, not the content that gets sent down that path. I guess it could block some known virus-giving hosts? But if it's known to the VPN provider, it's probably also known to the built-in antivirus on your computer who can block it for you.

(Oh yeah, 3rd party antivirus is another thing that's not worth paying for these days. Microsoft's built-in Windows Defender is as good as the third party options, and something something Macs don't get viruses easily because of how they're architected.)

Honestly though, keep your software up to date, don't click on anything suspicious, don't open files from sources you don't trust, and you'll be right most of the time.

And keep your software up to date. Then update your software. Hey, did I mention keeping your stuff updated? Update! Now! It only takes a few minutes. Please update to the latest version of your software I'm begging you. It's the number 1 way to protect yourself from viruses and other malware. Most major software attacks could have been prevented if people just updated their damn software!

But my ISP is spying on me!

Ok, it is true that there are TWO bits of data that HTTPS can't and won't hide. Those are:

The source of a request (your IP)

What website that request is going to (the website's IP)

These are the bits of information that routers use to know where to send your data, so of course they can't be hidden as the data is moving across the internet. And people can see that information very easily if they want to.

Note: this will show which website you're going to, but not which page you're looking at, and not the content of that page. So it will show that you were on Tumblr, but will not show anyone that you're still reading SuperWhoLock content in 2021.

It's this source/destination information that VPNs hide, which is why they can be used to bypass website blocks and region locks.

By using a VPN, those sniffing traffic on your side of the VPN will just show you connecting to the VPN, not the actual website you want. That means you can read AO3 at work/school without your boss/teachers knowing (unless they look over your shoulder of course).

As for those sniffing on the websites end, including the website itself, they will see the VPN as the source of the connection, not you. So if you're in the US and using a VPN node in the UK, Netflix will see you as being in the UK and show you their British library rather than the American one.

If this is what you're using a VPN for and you think the price is fair, then by all means keep doing it! This is 100% what VPNs are good for.

HOWEVER, and this is a big "however", if it's your ISP you're trying to hide your internet traffic from, then you will want to think twice before using a VPN.

Let me put it this way. Without a VPN, your ISP knows every website you connect to and when. With a VPN, do you know who has that exact same information? The VPN provider. Sure, many claim to not keep logs, but do you really trust the people asking for you to send them all your data for a fee to not just turn around and sell your data on for a profit, or worse?

In effect, you're trading one snooper for another. One snooper is heavily regulated, in many jurisdictions must obey net neutrality, and is already getting a big fee from you regardless of where you browse. The other isn't. Again, it's all a matter of who you trust more.

For me personally, I trust my ISP more than a random VPN provider, if for no other reason than my ISP is an old enough company with enough inertia and incompetence that I don't think they could organise to sell my data even if they wanted to. And with the amount of money I'm paying them per month, they've only got everything to lose if they broke consumer trust by on-selling that data. So yeah, I trust my ISP more with my privacy than the random VPN company.

But my VPN comes with a password manager!

Password managers are great. I 100% recommend you use a password manager. If there's one thing you could do right now to improve your security (other than updating your software, speaking of, have you updated yet?), it's getting and using a password manager.

Password managers also come for free.

I'm currently using LastPass free, but am planning to switch after they did a bad capitalism and only let their free accounts access either laptop or mobile but not both now. I personally am planning to move to Bitwarden on friends' recommendation since it's not only free but open source and available across devices. I also have friends who use passbolt and enjoy it, which is also free and open source, but it's also a bit DIY to set up. Great if you like tinkering though! And there are probably many other options out there if you do a bit of googling.

So, yeah, please use a password manager, but don't pay for it unless you actually have use for the extra features.

No I really need to hide my internet activity from everybody for reasons

In this case, you're probably looking for TOR. TOR is basically untraceable. It's also a terrible user experience for the most part because of this, so I'd only recommend it if you need it, such as if you're trying to escape the Great Firewall. But please don't use it for Bad Crimes. I am not to be held liable for any crime committed using information learned from this post.

Further reading viewing

If you want to know more about why you don't need a VPN, see Tom Scott's amazing video on the subject. It's honestly a great intro for beginners.

I like too much detail

Ahhh, so you're the type of person who doesn't get turned off by long explanations I see. Well, here's a little more info on the stuff I oversimplified in the main post about encryption. Uhh, words get bigger and more jargony in this section.

So first oversimplification: the assumption that all web traffic is either HTTP or HTTPS. This isn't exactly true. There are many other application layer internet standards out there, such as ssh, ftp, websockets, and all the proprietary standards certain companies use for stuff such as streaming and video conferencing. Some of these are secure, using TLS or some other security algorithm under the hood, and some of them aren't.

But most of the web requests you care about are HTTP/HTTPS calls. As for the rest, if they come from a company of a decent size that hasn't been hacked off the face of the planet already, they're probably also secure. In other words, you don't need to worry about it.

Next, we've already said that encryption works as a lock and a key, where the lock is a maths formula and the key is a number. But how do we get that key to lock and unlock the data?

Well, to answer that, we first need to talk about the two different types of encryption: symmetric and asymmetric. Symmetric encryption such as AES uses the same key to both encrypt and decrypt data, whereas asymmetric encryption such as RSA uses a different key to encode and decode.

For the sake of my writing, we're going to call the person encrypting Alice, the person decrypting Bob, and the eavesdropper trying to break our communications Eve from now on. These are standard names in crypto FYI. Also, crypto is short for cryptography not cryptocurrencies. Get your Bitcoin and Etherium outta here!

Sorry if things start getting incoherent. I'm tired. It's after 1am now.

So first, how do we get the key from symmetric crypto? This is probably the easier place to start. Well, you need a number, any number of sufficient size, that both Alice and Bob know. There are many ways you could share this number. They could decide it when they meet in person. They could send it to each other using carrier pigeons. Or they could radio it via morse code. But those aren't convenient, and somebody could intercept the number and use it to read all their messages.

So what we use instead is a super clever algorithm called Diffie-Hellman, which uses maths and, in particular, the fact it's really hard to factor large numbers (probably NP Hard to be specific, but there's no actual proof of that). The Wikipedia page for this is surprisingly easy to read, so I'll just direct you there to read all about it because I've been writing for too long. This algorithm allows Alice and Bob to agree on a secret number, despite Eve being able to read everything they send each other.

Now Alice and Bob have this secret number key, they can talk in private. Alice puts her message and the key into the encryption algorithm and out pops what looks like a load of garbage. She can then send this garbage to Bob without worrying about Eve being able to read it. Bob can then put the garbage and the key into the decryption algorithm to undo the scrambling and get the original message out telling him where the good donuts are. Voila, they're done!

But how does Alice know that she's sending her message to Bob and not Eve? Eve could pretend to be Bob so that Alice does the Diffie-Hellman dance with her instead and sends her the secret location of the good donuts instead.

This is where asymmetric crypto comes in! This is the one with private and public keys, and the one that uses prime numbers.

I'm not 100% across the maths on this one TBH, but it has something to do with group theory. Anyway, just like Diffie-Hellman, it relies on the fact that prime factorisation is hard, and so it does some magic with semi-primes, ie numbers with only 2 prime factors other than 1. Google it if you want to know more. I kinda zoned out of this bit in my security courses. Maths hard

But the effect of that maths is easier to explain: things that are encoded with one of the keys can only be decoded with the other key. This means that one of those keys can be well-known to the public and the other is known only to the person it belongs to.

If Alice wants to send a message to Bob and just Bob, no Eve allowed, she can first look up Bob's public key and encrypt a beginning message with that. Once Bob receives the message, he can decrypt it with his private key and read the contents. Eve can't read the contents though because, even though she has Bob's public key, she doesn't know his private key.

This public key information is what the lock in your browser is all about BTW. It's saying that the website is legit based on the public key they provide.

So why do we need symmetric crypto when we have asymmetric crypto? Seems a lot less hassle to exchange keys with asymmetric crypto.

Well, it's because asymmetric crypto is slooooow. So, in TLS, the security algorithm that puts the "S" in "HTTPS", asymmetric RSA is used to establish the initial connection and figure out what symmetric key to use, and then the rest of the session uses AES symmetric encryption using the agreed secret key.

And there you have it! Crypto in slightly-less-short-but-still-high-enough-level-that-I-hope-you-understand.

Just realised how long this section is. Well, I did call it "too much detail" for a reason.

Now, next question is what exactly is and isn't encrypted using HTTPS.

Well, as I said earlier, it's basically just the source IP:port and the destination IP:port. In fact, this information is actually communicated on the logical layer below the application layer HTTPS is on, known as the transport layer. Again, as I said before, you can't really encrypt this unless you don't want your data to reach the place you want at all.

Also, DNS is unencrypted. A DNS request is a request that turns a domain name, such as tumblr.com, into an IP address, by asking a special server called a Domain Name Server where to find the website you're looking for. A DNS request is made before an HTTP(S) request. Anyone who can read your internet traffic can therefore tell you wanted to go to Tumblr.

But importantly, this only shows the domain name, not the full URL. The rest of the URL, the part after the third slash (the first two slashes being part of http://), is stuff that's interpreted by the server itself and so isn't needed during transport. Therefore, it encrypted and completely unreadable, just like all the content on your page.

I was going to show a Wireshark scan of a web request using HTTP and HTTPS to show you the difference, but this has taken long enough to write as it is, so sorry!

I could probably write more, but it's 1:30am and I'm sleepy. I hope you found some of this interesting and think twice before purchasing a VPN subscription. Again, there are legit good uses for a VPN, but they're not the ones primarily being advertised in VPN ads. It's the fact that VPN ads rely so heavily on false advertising that really grinds my gears and made me want to do this rant. It's especially bad when it comes from somebody I'd think of as technologically competent (naming no names here, but if you've worked in tech and still promote VPNs as a way to keep data safe... no). Feel free to ask questions if you want and hopefully I'll get around to answering any that I feel I know enough to answer.

Nighty night Tumblr. Please update your software. And use a (free) password manager. And enable two factor authentication on all your accounts. But mostly just update your software.

[world-of-puppets]

Puppetry Lost Media

In honour of reaching 50 followers last week (now 55 followers, as of writing this) I decided to cover two subjects of great interest to me: puppetry (of course) and lost media.

Everybody online loves a good old bit of lost media. Whether it be being a part of the many searches for the media in question, or watching documentaries about them on sites like YouTube. I’ve been mildly addicted to the latter kind of content for a while. From what I’ve seen, though, there aren’t many videos or articles out there specifically covering lost puppetry. So, in no particular order, here are a couple of pieces of lost puppetry I found while scrolling through the lost media wiki.

銀河少年隊 - Ginga shounen-tai AKA Galaxy Boy Troop (1963 - 1965)

Osamu Tezuka is one of the most pioneering figures in Japanese art and animation. Starting as a manga artist in the 1940s inspired by the animated works of American studios such as Walt Disney and the Fliecer Brothers, he adapted and simplified many of the stylistic techniques of both artists to create his own signature style of big shiny eyes, physics defying hair and limited animation. A style that would go on to heavily influence the world of anime and manga as a whole.

But animation and graphic art were not the only mediums Tezuka would dabble in. Ginga Shounen-Tai, or Galaxy Boy Troop in english, was a television series that aired on the public broadcast channel NHK from April 7th, 1963 to April 1st, 1965. Running for 2 seasons with a total of 92 episodes.

The series was a mixture of marionette characters that utilised the Supermarionation marionette technique, popularised by Jerry Anderson’s Thunderbirds, and limited traditional animation. The story revolves around a child genius named Roy who leads a rag-tag group of heros around the galaxy in a rocket ship in order to revive the earth’s sun and later protect it from alien invaders.

Out of the 92 episodes that aired, only episode 67 still exists in its entirety with French subtitles, and the full episode can be found on YouTube with English subtitles uploaded by user Rare TezukaVids. According to user F-Man on the Tezuka in English forums, footage of episode 28 exists but with no audio, and episode 87’s animated segments exist without the marionette segments. F-Man also claims the reason for Galaxy Boy Troop’s disappearance is due to Tezuka not being proud of the series and having all episodes of it destroyed.

Personally, I think it’s a shame that pretty much all of this series is gone. From what I’ve seen in episode 67, it looks really charming. Tezuka’s signature character design style was adapted suprisingly well to marionettes, and the puppetry itself isn’t that bad either. I love the little face mechanisms like the blinking eyes, flapping mouths and others. It gives the puppets a lot of personality and charm. Like, just look at this old mans eyebrow mechanism and tell me you wouldn’t want to watch 92 episodes of this show;

Tinseltown (2007)

Tinseltown was a 15 minute sitcom pilot created by the Jim Henson company under thier Henson Alternative banner. The pilot was commissioned by the Logo Network and aired as part of the Alien Boot Camp programming block in 2007.

The pilot (and likely the series, had it been picked up by the logo network) features a cast of both puppets and live actors as characters. The premise revolves around Samson Kight, an anthropomorphic bull preformed by Brian Henson and drew Massey, and his partner Bobby Vegan, an anthropomorphic pig prefomed by Bill Barretta and Michelan Sisti, as they attempt to balance thier lives working in Hollywood with life as parents to thier sullen 12-year-old foster son, Foster, played by Paul Butcher. Other human characters included Mia Sara as Samson’s ex-wife Lena and Francesco Quinn as the family’s manservant Arturo.

The Tinseltown pilot used to be available on the Logo Network’s YouTube channel, but was later removed for unknown reason. Since then, the pilot has not been made available online. However the characters Samson and Bobby have made appearances in other Henson related works, such as the improv stage show Stuffed and Unstrung, where they played the role as the shows producers, and in a 2011 video on the Jim Henson Company YouTube channel celebrating Jim Hensons 75th birthday.

I find Tinseltown pretty interesting as I feel like it should be more noateable or known, considering that this is (as far as my knowledge goes) the first Jim Henson Company project featureing openly lgbtq characters as its leads, and would have been the first Henson show to do so had it been picked up. As someone who’s interested in lgbtq+ representation in creative media such as animation, I realised that there’s not many examples of canon lgbt characters in puppetry. The only ones aside from Samson and Bobby I could think off the top of my head would be Deet’s Dads from The Dark Crystal: Age of Resistance and Rod from Avenue Q. Though, obviously, there could be more I’m not currently aware of. I don’t think the Tinseltown pilot was a masterpiece or anything. After all, there’s probably a couple of good reasons Logo didn’t pick it up for a full series. But I think it be cool if either Henson co. or Logo made this available online again, if just so we could appericate it as an interesting little footnote in the history of lgbtq rep in puppetry.

With that said, considering the pilot’s obscurity and the fact that it’s main couple haven’t been used in any Henson Related projects in almost ten years, as well as the possibility that there may be legalities preventing the Henson company from releasing it such as Logo still owning the rights, it’s unlikely we’ll see the Tinseltown pilot anytime soon.

Sonic Live in Sydney (1997 - 2000)

Sonic the Hedgehog is a fictional character no stranger to multiple interpretations of him and his universe across a diverse range of media. From the more light-hearted and comedic stylings of The Adventures of Sonic the Hedgehog and Cartoon Networks Sonic Boom cartoon series, to more serious faire such as the Sonic SatAM cartoon and the Sonic Adventure videogame duology. One of the more obscure and stranger adaptations of the character came in the form of Sonic Live in Sydney, a one an a half hour live show hosted at the former Sega World Sydney amusement park in Darling Harbor, Sydney, Australia. Originally beginning as a live show with actors in meet-and-greet style costumes, the show eventually was replaced with a puppet show during its last two years.

The shows plot was set in an alternate timeline whos continuity was a mix of the SatAM cartoon and Sonic the Hedgehog 3, where Doctor Robotnik’s Death Egg crash lands in Sydney, Australia instead of Angel Island and attempts to take over before being foiled by sonic and friends. According to Phillip Einfeld of Phillip Einfeld Puppetoons, the company that made the puppets, Sega felt the costumed actor version of the show wasn’t dynamic enough, and wished to replace it with a version featuring live puppets with animatronics. Both versions of the shows plot are identical.

While Sonic Live in Sydney’s soundtrack is available on YouTube, and some photos of the show are available on the Lost Media Wiki, no footage of either the costumed actors version or the puppet show version have resurfaced. The show was closed down in 1999, possibly due to cost, shortly before the Sega World park as a whole in 2000. So unless there is someone out there who viseted the show between 1998 or 1999 who recorded the show via a handheld camera, footage of both incarnations of the show are likely forever lost to time.

On a personal note, I don’t have much to say on this one other than how gloriously peek gaudy 90s Sonic the set/puppet design is. I have no doubt finding footage of these puppets in action would truly be a silly delight to behold...

Legend of Mary (year unknown)

This one is a little different from the other entries on this list as while the film itself in its entiraty is available on YouTube for anyone to view, the information surrounding Legend of Mary, specifically its year of release, remains a mystery as of writing this.

I have mentioned the film before on this blog so I’ll keep it brief here: in summary, Legend of Mary is a short film retelling of the Nativity featuring the Rod puppets of Austrian puppeteer Richard Teschner. the video was uploaded to YouTube by user canada 150 archive. I looked up the people credited in the film and was able to find most of them, but didn’t find Legend of Mary listed in thier credits, and was unable to find the film on sites like IMDB, tMDB or Letterboxd. I reached out to Canada 150 archive asking if they had any info regarding the Legend of Mary’s release date, and after a coupe of months, they replied saying they didn’t know.

And that’s as far as I got on my search for answers, if anyone of you guys has any information regarding Legend of Mary, then it be of huge help in finding the release date.

Sam and friends (1955 - 1961)

Sam and friends was the very first puppetry television series created by Jim Henson alongside his colabarator and future wife Jane Nebel. filmed in Washington, D.C. and airing twice daily on WRC-TV and the NBC affiliate in Washington, D.C. from May 9, 1955, to December 15, Sam and Friends would mark the first apperence of Kermit (though not yet as a frog) and paved the way for Henson’s iconic and revered legacy in the realm of puppetry on film and television.

With the impact this show had in mind, it may come as a shock to some that almost half of Sam and Friends, specifically, 42 of the 86 episodes, are considered lost. With 16 existing, 8 documented, 9 known from memory, plus 8 existing Esskay commercials and 1 memory-known Esskay commercial. Some taped episodes have been shown at venues such as the museum of the moving image while others have been erased. It’s unknown if copies of these erased episodes still exist.

This post would become far to long if I were too list every episode missing from Sam and Freinds, but if your curious, the lost media wiki article has a comprehensive list of all lost episodes.

Annnd that about it for this post. This type of content is pretty different from the stuff I usually post. So I’m egar to see what you guys think about it. If you enjoyed this article, want to see more like it or have ideas for what puppetry-related topics I should cover in the future. And again, thank you all so much for helping me reach 55 followers. Your support really does mean a lot to me, and I hope you enjoyed this as a follower milestone gift.

Anyways, hope you enjoyed this dip into lost puppetry, and have a happy holiday season!

[bumbleartz]

So got inspired by @sondrawr and @gotham-mother-of-monsters and had this ramble pop into my head. Hadn't flipped through my Mercy books in a while so it was fun to go back and refresh. Covers from the first book up to Storm Cursed and has spoilers if you haven't gotten that far.

Jesse has heard the title Marrok on and off throughout her childhood. Usually the title is whispered between the wolves or her father in tones she isn't supposed to hear. These conversations always ended in her being hustled off to the care of her mother or after the divorce being sent off to her room. The first time it became more than a hushed precursor to her being shuffled off is after being taken hostage. Her father had pulled her into his office and given her a name to go with the title along with a number to enter into her phone. "He is the head of all the wolves. If something happens regarding pack business or you feel for some reason you can't get to any of us or Mercy you call that number." She'd dutifully filed the number away as instructed under Bran Cornick and promptly had the conversation fade to where she kept the rest of what was considered pack information. 

The first time she sees the Marrok is in the entryway way to the house in the middle of the night. She's too distracted by the fact her father is home safe to pay much attention to the others in the room as she is carefully wrapped into his arms. He looks like crap and smells worse even to her normal human nose. She can't bring herself to care as the tears she's fought so hard not to shed wet her eyes. When she unburies her face from her father's chest long enough to take note of the others there she's honestly too tired from the stressful nights of waiting to register anything beyond them being in one piece and alive. Later, after the first good night's sleep she's had in days, there will have been too many new faces for her to register who was who. The only one she can place a name to with any certainty is Charles. Mercy laughs and tells her Charles has that effect on people when she goes to see her later. 

The first time Jesse meets the Marrok is not long after on a midnight escapade to calm her nerves. Another nightmare has had her shooting awake and the images are still playing in full technicolor behind her lids each time she closes them. It's been almost a year since she was taken hostage and yet the blinding terror feels as fresh as ever. She'd turned down therapy when it was offered. What was she supposed to say? Yeah, some werewolf thought they could use me as leverage to make my dad behave so they could use him in some murder plot with a side of treason? She'd known how well that would have gone over. She'd thought they would fade over time. Maybe they would have if things had gone back to normal; a demon vampire threat, murder plotting psychos, and the attack on Mercy had happened instead. Jesse didn't bother adding the destruction of her social life and ongoing mom issues to the list since they just seemed to pale in comparison to the rest. Anymore Jesse found herself waiting for the next horror story. The most recent of which was currently causing all the wolves various fits. She currently wasn't clear which was bothering them more: one of their own being resurrected or Mercy being pulled into the pack. The kitchen light is on as she rounds the corner and she expects to see any number of people outside of the vaguely familiar stranger currently staring back at her. Somewhere between him asking her if she couldn't sleep and making the hot chocolate the same way Mercy does it dawns on her this person who looks barely older than her is the Marrok. Her tired brain tries to summon up the awe with a side of shock she should be feeling and fails miserably. Instead she finds herself nursing her mug of cocoa and making small talk while the Marrok takes drinks of his own. In the midst of the conversation he manages to get her to verbal vomit about her nightmares and the troubles she's been having at school. She manages to find out he has a deep dislike of Shakespeare, has a deep love for music, and possesses a terrifying wit. By the time she is making her way back to her room and he to the guest room she is feeling better then she has in months. He's already gone when she gets up leaving her without ever getting a chance to say thanks. While it isn't a big thing it bothers her just enough to pull her phone out and send a text to the number she'd all but forgotten. The simple thank you is accompanied with a YouTube link to her favorite Lindsey Stirling video. After all, Jesse views not knowing who she is and being a violinist as a crime. The little smiley face emoji she gets in reply makes her grin. 

The next time they meet she's the one providing the hot chocolate. The pack has managed to get themselves entangled with a fairy queen and Mercy has yet again made the sacrifice play. Everyone is chasing their proverbial tails trying to find her while remaining outside of her father's war path. In the meantime, Jesse feels she's improved in her chaos handling as she's only broken down twice. Apparently having your boyfriend kidnapped and going on to a fairy queen's court doesn't have the same punch as other things she has dealt with lately. When she sets the mug on the coffee table it's the wee hours of the morning and the Marrok has been seated cross legged on their monstrosity of a couch for the better part of a day. If she hadn't gotten to know him a little better over the previous months she would have felt she was intruding. However, Bran was not against using all available resources and she'd been pulled in regarding the newest resident of Aspen Creek. Kara and Jesse had clicked right off the bat and become faithful texting pals ever since. Bran rubs the bridge of his nose and blinks hard a few times despite his eyes having been closed before reaching for the mug. He looks beyond exhausted and she knows not all of it has to do with the current situation. Kara has confided in her about his lack of sleep and the way he's been running himself ragged. Jesse does her best to lighten the mood with a joke about the fairies contacting them any moment begging them to take Mercy back. Her effort is rewarded with an amused smirk and a quiet chuckle. She ends up rambling about different ways Mercy is driving the fairies nuts and is encouraged when Bran joins in. Jesse wakes to the noise of people rushing around. Bran is smiling and gripping a walking stick with a white knuckled grip from his spot on the couch when he tells her Mercy has been found.

Jesse is biting her lip to keep from laughing too loud as she informs everyone the butterflies have succeeded where the dove idea failed. Marji is cackling on the video feed in victory while Bran seems too amused to care he has just lost a hundred bucks. Two days pass in a blur of emergency calls and group texts. Despite the short time frame the wedding goes off without a hitch. Mercy is surprised and Jesse can't remember the last time her father looked so blissfully happy. Once the two love birds are off Jesse spends the rest of the reception twirling around the dance floor with Gabriel. The raised eyebrow this gets her from Bran makes her stick out her tongue. The fact Mercy comes back from the honeymoon in a wheelchair shouldn't have been much of a surprise. Jesse can picture Bran doing his iconic bridge pinch when she sends him the picture. 

Bran's text to Mercy makes Jesse's lips quirk in amusement. After the destruction of the Rabbit she could use the humor. That humor plummets when the number comes up disconnected when Mercy tries to reply. The knot of concern only tightens with each person Mercy tries and fails to reach. The pain of it becomes near unbearable when they find Ben and no one else. The pain doesn't start to ease until she recognizes the dark haired man fighting beside Tad. After months of having Asil tease her about her hair after seeing it during a video chat with Kara she'd know him anywhere. Seeing her father and the pack alive and well makes the knot come undone. At least it does until she realizes one is missing and hears of Peter's death. She knows how her father will take the loss and can't bring herself to add more weight to those already overburdened shoulders. So she turns her focus to looking after the younger Sandoval children and burying her feelings as deep as possible. This works until Asil catches up to her in the kitchen getting together snacks for the kids. All he has to do is ask if she's alright and she falls apart. Asil pulls her into a hug and gives reassurances in Spanish. Jesse doesn't understand a word but it soothes her all the same. He tells her everyone in Montana is safe and she sags in relief. When everything is over and she gets a new phone that has been programmed by Charles, Asil's number is listed in the contacts. 

Her mother has only been living with them for a day and Jesse wants to scream. She loves her mother but watching the resulting train wreck her mere presence is causing makes her wish she'd just leave them all alone. Even though her talk with Mercy has eased some of the hurt and anger, it hasn't gotten rid of it. Mostly because despite what Mercy said she can see the way her mother has gotten under her skin and cut her to the quick. Anger and the need for a voice of reason has her contacting Bran. Bran gently reminds her Mercy is more than capable of holding her own in a dominance dance. He must know this isn't what she was looking to hear because the next message contains Charles' number and instructions to text him. Jesse has no idea why Bran would have her talking to Charles but she copies and pastes the message she previously sent like instructed. Bran must have warned his son because Charles doesn't seem surprised to get the message. Charles turns out to be an unexpected fount of wisdom when it comes to the difficulty of broken family dynamics. It's odd how hearing from someone else that she is allowed to love her mother and yet not like her makes it feel OK. By the time her mother's stalker has been dealt with Jesse thinks she might finally be finding the path between love and hate. 

Jesse isn't a wolf, but she can still feel the moment Bran breaks ties with the Columbia Basin Pack. She doesn't wait for her father and Mercy to come out of the office. Tad seems to know something is up but doesn't say anything when she gives the excuse of homework and heads to her room. Her phone is a lead weight in her hand because what do you say to someone who just had to throw away someone they love? A part of her is angry too. Angry at the pain she knows this has caused Mercy and the difficulty it will cause her father. However, Jesse knows what it is like to be caught in a situation outside your control due to the actions of those you love. She types out a promise to do what she can for Mercy and to send a warning the instant something happens requiring help. She ends the text with a little heart emoji. Current circumstances might make it harder but family out ranked all else. Jesse already knew if something happened Bran would help. She's proven right when Baba Yaga saves her father in Underhill.

Jesse's proven right again when Bran goes with her father to get Mercy back from the Lord of Night. He sends her a message promising her he will bring Mercy and her father back in one piece. She replies telling him she knows. She also tells him to come back in one piece too or she's going to have to go all Buffy the Vampire Slayer. At this point she's gone to battle to protect her new pyro of an adopted younger brother and managed to keep him from burning the house to the ground. She's pretty sure she can at least annoy a vampire lord. The fact she'd have backup from an Italian mercenary, a Dark Smith and more than one werewolf pack was completely irrelevant. After all the one thing she knew for certain was you always looked out for your pack, your family. Which is why as soon as she hears everyone is returning from Italy in one piece she sends a message to Tad for him to tell his dad. She also makes sure Warren passes on the message to Stefan though he doesn't need reminding. She snaps a picture of everyone getting out of the car when it pulls up and sends it to Charles and Asil because she knows hearing someone you care about is safe is not the same as seeing it. And because he is family in her eyes at this point, after she hugs her father and Mercy, she hugs Bran too. 

[yeoldontknow]

❧ check in tag

tagged by the sweetest angel @propinqxity to do this little tag. this is such a cute list of questions, and some of these i dont think ive been asked before. thank you so much for the tag and the tumblr crush mention lovely. you truly are a bright spot on this website and i mean that sincerely <333

going under a cut because im certain i will ramble ~

1. Why did you choose this url?

its sort of like a pun between yall dont know and the fact that, hopefully, sincerely, chanyeol does not in fact know that i run this blog lmao i changed to this after a long time of being bread-jinie and i wanted to rebrand. i will, however, do my best to never change URLs again because the masterlist switch over was a complete hassle

2. Any sideblogs? If you have them, name them and why you have them

i have a fic recs blog called @yeoldontknowiread. as to why i have it, i know it hasnt been updated in ages since ive been kind of on hiatus, but i think reading and sharing work on this platform is immensely important. i actually read quite a lot of fanfiction, and i try my best to share the things i read. im very very behind on recs at the moment cause i try my best to write something substantial for every recommendation i make. as a writer, i know exactly the kinds of thoughts and feedback on fics that make my heart soar so i try to put in the same energy to my recs. community is only fostered when there is reciprocation

3. How long have you been on Tumblr?

hmmm since april 2017. i actually had my 4 year anniversary this year and i did have plans for things but i got roped into real life things and couldnt celebrate the way i truly wanted to :(

4. Do you have a queue tag?

no but sometimes i think i should. i view tags as a library on top of my knee jerk response to things. most of my tags are just my initial thoughts or feelings at any given moment, so those take precedence over a specific queue tag

5. Why did you start your blog in the first place?

when i was getting into exo, i was reading fanfiction like crazy. i used to write fanfic quite a lot in other fandoms, but at that time i hadnt written anything in about 2.5 years. exo was the first re-introduction to that feeling of excitement and inspiration. after about 3 weeks of straight reading, i decided i wanted to write again. i wrote the prologue to hero in about two hours and tried logging into AO3 to post it. sadly i forgot all of my log in information because it had been years, and was getting frustrated. i really wanted to put it somewhere out of fear that id lose interest if i didnt do something with it, and everything id read had been on tumblr. so i made a tumblr just to put hero lmao i didnt have any mutuals. it was a blog with straight 0. i hadnt even created an account to interact with writers before that moment, i really thought id be a silent reader forever. but exo woke me back up and for that i am eternally grateful.

6. Why did you choose your icon?

the yours music video is...so stunning? like the colour theory throughout the whole thing is truly so inspiring and gorgeous. and this shot of chanyeol looking at the painting took my breath away, truly. tulips and the color of peach, like do you know how evocative that is? ugh

7. Why did you choose your header

my header was made by @jamaisjoons for my birthday this year because shes literally the most talented person when it comes to graphics. and this was so kind of her to do, i cried a lot

8. What's your post with the most notes?

uhm....either the body through time or truth i cant remember which but i checked recently and its one of those

9. How many mutuals do you have?

honestly at this point im not even sure. i know ive lost a bunch while i was on hiatus because i was basically a dead blog, and some people do dash cleanses. and im certain others have left, too, for their own reasons. still, i have a good core of friends though who are active and that is enough for me

10. How many followers do you have?

more than i probably deserve

11. How many people do you follow?

399

12. Have you ever made a shitpost?

uhm i guess? there was a time when nng was not updated and every wednesday id post the days go by music video in sadness and grief but im not a big shitposter. if i make a text post its usually a life update or me crying about chanyeol, theres no inbetween lmao

13. How often do you use Tumblr every day?

tbh i havent used tumblr that often, not since march i think. i used to use it many times a day, checking in on friends and stuff, but once i started focusing on my phd applications i was only here sporadically. i didnt make an announcement either, just let my blog run on queue so i wasnt totally gone. i think i was checking in twice a week or maybe once every two weeks to refill my queue and check mentions etc. but now that my interviews are done im trying to get back on here daily to reconnect

14. Did you have a fight/argument with another blog once? Who won?

ive had my share of disagreements with people and any details about those situations shall remain as they are meant to: private

15. How do you feel about "you need to reblog this" posts?

in what context? like, you need to reblog this or your wish wont come true? or like, please reblog this to spread the word/spread awareness, etc? in the case for the former, i scroll right by. in the case of the latter, if im around and see someone raising a go fund me or some major event is occurring and i find a post with good sources or charities i will reblog. mostly though, the full extent my activism isnt really on this blog. its my escape from reality. my activism is usually placed on other platforms.

16. Do you like tag games?

i doooo!!! theyre so fun i love learning about my friends

17. do you like ask games?

i love those too! theyre so cute and usually a nice way to have interaction immediacy with people in the community

18. Which of your mutuals do you think is Tumblr famous?

no one. can we please abandon this notion of fame on tumblr? arent we all here to write about some dick and some smut and some fluff and then hang out together and log off? lmao tumblr isnt reality and followers/fame is so arbitrary on this platform, no one has any control over any of it

19. Do you have a crush on a mutual?

i am in love with so many people here. let me name a few:

@yehet-me-up @kyungseokie @jenmyeons @j-pping @jamaisjoons @inkedtae @kookdiaries @yoonia @dulcetvk @kithtaehyung @imdifferentshadesofpurple @ditzymax @sugaurora @sahmbtsficrecs @junghelioseok @yeojaa @augustbutwinter @joonscore @btssavedmylifeblr @cutechim @sunshinekims @kimtaehyunq @ouvuo @delhyun @exo-stentialism @sooibian @softyoongiionly @jinseunie @zibermuda @bratkook @1kook @luffles424 @xjoonchildx

and so many other people and mutuals that i am certainly forgetting. love is such an expansive feeling, and it encompasses platonic ardor and creative desire. i admire every single person listed for so many different reasons, and cherish and treasure them or what they provide to the community. love is such an important and broad experience. truly, i hope they feel adored every single day x

[plasticnightmaredoll]

"Mortal Kombat" (2021) second viewing thoughts

I watched the 2021 "Mortal Kombat" movie a second time and watched some videos on YouTube from fans who shared their thoughts on the movie. I now have some new things to add in addition to my full review.

Ok, so, one thing that they made a huge mistake on was making the film 1 hour and 50 minutes. It's not even a 2-hour movie, and yet, they tried to cram in 20 hours worth of crap:

Too many cooks in the kitchen

The sheer number of characters featured in this movie was ridiculous and because the writers/producers decided to do this, most characters lacked proper development -- or any development. I mean, let's take a look at the list of characters in this movie (only the "fighters," not the side characters like Cole's family and whatnot):

Cole Young

Hanzo Hasashi/Scorpion

Bi-Han/Sub-Zero 1.0

Sonya Blade

Jax Briggs

Raiden

Shang Tsung

Kano

Liu Kang

Kung Lao

Nitara

Mileena

Reiko

Goro

Kabal

I mean, damn. That's a shitload of characters! It's actually unnecessary to have that many characters, especially if they weren't even going to reach the 2-hour runtime mark. Reiko and Nitara, for example, could have been removed from the story and it wouldn't have made any difference. Hell, even Mileena didn't need to be in the movie (nothing against her character -- I like Mileena but in the movie, she was extremely underdeveloped).

For Mortal Kombat fans, at least they can fill in the gaps because they know these characters. However, what about people who know nothing about the games? I can't see them finding much enjoyment in this film, and that's a problem.

The goal of mainstream blockbuster movies such as this one, one that is meant to launch multiple sequels, is to draw in as many people as possible. You would think they would want this movie to appeal to those who aren't familiar with the games. I mean, it could even make some of those people want to play the games. As it is, though, this movie is too heavily rooted in the fans putting the pieces together.

Why is it not 2+ hours?

Ok, I get it: it's very difficult to pitch 3-4 hour movies nowadays. "The Lord of the Rings" and "Hobbit" movies got away with it because they are based on highly detailed, well-loved books. You can't just treat such legendary writing like fantasy fodder. You go all out!

"Avengers: Endgame" was three hours long, and it worked because they had a) enough material for such a runtime, b) the sheer popularity of the franchise behind it, and c) it was an epic finale for a massive list of films. You couldn't make "Endgame" 2 hours or less and expect it to be good.

Now, "Mortal Kombat" cannot get the budget of a Marvel film (or any Disney property, let's be real) -- many films cannot compete with the amount of money Disney can pour into their movies and series. MK is also not a ground-breaking, incredibly written fantasy story with extensive world-building like "Lord of the Rings." Yes, MK has a lot of stories and a lot of characters but it isn't even in the same league of quality as Tolkein works.

(Don't hate. I am just stating my observations here.)

However, even if they couldn't make this MK movie 3+ hours long, they should have gone for 2.5 hours. 1 hour and 50 minutes just isn't enough time. Add in 40 extra minutes, and you have much more flexibility.

Honestly, you could make 3-4 hour MK movies since there is so much content and so many characters, but realistically, it probably won't happen. So, the writers and producers have to do their best with what they're given, and....they cut this film waaaay too short. Going forward, they need to expand the runtime of the sequels. They need to. Otherwise, we'll keep getting mediocre films and maybe fewer sequels than originally planned.

USE YOUR BEST "TRAIT" FFS

The smartest decision the creators made was casting Hiroyuki Sanada as Hanzo Hasashi/Scorpion. He's a great actor, for one, and he just FITS the role. I mean, I look at him in this movie and, yep, that's Hanzo. They couldn't have picked a better actor for such an iconic character but.........they barely used him.

When you look at it in two ways, it's quite disappointing and confusing: Scorpion is just as popular and necessary as Sub-Zero to the MK franchise. They're like.... Godzilla and Kong for Mortal Kombat. Sub-Zero got a lot of screen time in the movie but Scorpion was only in the movie twice: at the beginning and at the end.

I mean, WHY?! We had a bunch of time dedicated to a new character with Cole, someone who isn't actually necessary for the story. Yet, we put one of the most iconic characters from the games on the back burner?

NO!

They made a smart decision but then they did something dumb with it.

If they make sequels, then omfg, FUCKING USE HIROYUKI SANADA.

Multiple sequels already planned?

While watching this video, I found out that the actor who played Bi-Han/Sub-Zero, Joe Taslim, has signed on for 5 movies, which includes the one we just got. This makes sense because Bi-Han does become Noob Saibot after dying, but that's beside the point: this MK movie series planned to be at least 5 films long.

Granted, that's not nearly as many as in the MCU films that lead up to "Endgame," but it's certainly promising. This is a chance for the writers and producers to fix some of their mistakes and flesh out the characters more as well as add more coherent details to the story.

I'm guessing the goal is to have the movies leading to an invasion of Earthrealm, ala "Endgame." I don't know how they will go about it, but I hope that, in addition to the 5 movies, we get spin-offs that focus on specific characters. The MCU did it, which helped develop the huge list of characters that ultimately made it into "Endgame," and this made it easier for the writers to focus on the story as character development was already done. If the MK movies do something similar, then this could be a good series of films.

The biggest problem, though, is that they got started on the wrong foot. The 2021 film is definitely a clumsy attempt to introduce everyone to this movie adaptation of the games, and it could significantly hinder their progress going forward. I mean, you start off wrong, you have much more work ahead of you if you plan to fix your mistakes.

It's not impossible, though. It's still early -- like, the first movie. We have at least four more to go. If the writers and producers can get their shit together, then they may pull it off.

And let's be real: I think MK is LONG overdue for a good movie.

The trailer and opening scene

The trailer for the "Mortal Kombat" movie was pretty epic, as was the opening scene of the film. Actually, the first scene almost doesn't fit into the movie because it appears to be from something of...better quality in terms of writing and development.

Now, imagine the whole movie was as epic as the trailer but also wonderfully crafted like the first scene. This could have easily produced a much better MK movie. They probably should have focused primarily on Hanzo, to be honest, and have Bi-Han there as well as the antagonist, and have some other characters on the side but not too many. I think that would have made this movie fantastic and would have fixed the issues with character development and poor plot progression.

Final Thoughts

The 2021 MK movie is still decent entertainment and worth watching a few times. However, I truly do hope the writers learn from their mistakes moving forward and give the people something much better.

[buzzdixonwriter]

TROTS AND BONNIE Review

Trigger Warning: This will review a work that often addresses human sexuality, emotional / physical / sexual abuse, and adolescents’ views on same.  Be advised.

. . . 

When I was growing up in the 1950s and early 1960s, two old comic strips that remained popular were J. R. Williams’ Out Our Way and Gene Ahern’s Our Boarding House, both started in the 1920s and, from their daily panels and Sunday pages, never moving out of that decade.  My favorite cartoons on local kid shows were Fleischer Brothers Betty Boop and Popeye cartoons, many of which took place in urban / suburban settings heavily reflective of 1920s and 1930s America.

So when I first encountered Shary Flenniken’s Trots And Bonnie I instantly recognized the flavor and style of the strips.

The content, on the other hand, came straight out of her underground comix pedigree, with the refreshing point of view of the female gaze instead of the admittedly too often misogynistic male cartoonists of the milieu.

Flenniken is one of the best artists and writers to come from the underground era, displaying a confident early mastery of the form (don’t listen to her protestations she really wasn’t good at the start of her career; she clearly ranked among the finest of the underground comix artists).

But the sweet and innocent look of Trots And Bonnie belies the frank and frequently shocking honesty of Flenniken’s work.  

As cartoonist Emily Flake notes in her introduction, “that’s the terrible power of children, the monstrous innocence that makes them capable of anything, a state of being we fatuously describe as ‘pure.’”

Innocence is not synonymous with purity in the world of Trots And Bonnie because the cast lack the moral and cultural filters we acquire as adults.  They are reporting on reality as they see it, and as with all children (and the elderly, and drunks) there’s nothing to stop them from commenting on the foibles of hypocrisy of humanity, nor is there a single iota of shame to hold back their expression.

And when you add the impact of puberty to that mix, holy &#@%, you have no room left for pretense or propriety.

Hold on to your hats, folks, ‘cuz it’s gonna be one helluva ride.

One helluva ride…and a hilarious one, too.

If modern audiences can get past the admittedly often shocking visuals and situations, they’ll find some of the most brilliant coming-of-age comedy ever penned.

The truth is always an absolute defense, and Trots And Bonnie dishes it out lavishly.  Brava to Shary Flenniken for having the courage (or honesty, of lack of filter; take your pick) to pen it, to the original underground comix and National Lampoon to publish it, and to new York Review Comics to bring almost all of it back (Flenniken herself opted to withhold a few strips that she feels might be construed now as hurtful or insulting).

Flenniken is the daughter of a military family, growing up in a variety of climes and places before her father retired in the Seattle area.

She reached adolescence and young adulthood during the hippie era, and the earliest strips cast a fond eye back on that time.

An original member of the infamous Air Pirates crew, she and fellow underground comix artists gained immediate recognition skewering Disney icons.  Air Pirates Funnies and Paul Kassner’s The Realist generated no small amount of tsuris for the House of Mouse in the late 1960s / early 1970s but The Realist, true to its name, possessed to good sense to adhere to the unofficial so-called “one-time fair use parody” rule while the Air Pirates pressed their luck with Air Pirates Funnies #2, resulting in the Disney legal department descending on them like an anvil dropped from orbit.

Crawling away from the wreckage, Flenniken kept contributing to a number of underground venues, creating the first Trots and Bonnie strip for the 1971 underground comix Merton Of The Movement. 

Trots and Bonnie (soon joined by Pepsi, a beguilingly sweet looking elfin-like child with the heart of Germaine Greer, the reproductive organs of Karen Finley, and the mouth of an interstate trucker) popped up in several single page strips and short stories until NatLamp recruited Flenniken in 1972 to be a regular contributor and (briefly) an editor.

NatLamp proved to be the perfect venue for Flenniken and her characters because the magazine possessed the economic mojo and suicidal “Who gives a &#@%?” attitude to publish Trots And Bonnie while at the same time providing a perfect audience of proto-incels who desperately needed some consciousness raising, especially if said consciousness raising arrived in the form of a kick in the groin.

Trots And Bonnie’s tenure at NatLamp lasted slightly more than two decades, but a big hunk of that era saw the Reagan culture wars raging, not to mention much of the country becoming obsessed with a literal modern day witch hunt in the infamous Satanic panic (an apt subject for Flenniken’s characters, but one she wisely avoided, thus following the old military adage, “Never draw fire on your own position.”).

The already edgy material in both NatLamp in general and Trots And Bonnie in particular threatened to be perceived as too edgy by law enforcement, legislators, and judicial authorities who seemed either unwilling or incapable of distinguishing between photographs and video of actual sexual assaults and rapes committed against real children as opposed to crudely drawn Xerox copied mini-comics made by outsider artists with audiences that might possibly number in the dozens.

Flenniken’s willingness to honestly recall the turbulent emotions of early adolescence resulted in stories and strips where prepubescent kids engage in activities and discussions that would be acutely problematic if done today.  Again, the utter lack of self-consciousness in Flenniken’s characters swerves her work away from the low grade smut ground out by many of her male contemporaries and flung open a window on how adolescent females perceived the world around them.

The stories are wildly transgressive, and like all transgressive art can only be understood in the context of their time and mores.  Flenniken’s art carries a sweetness that leavens out the most horrendous situations (she gets astonishing comedic mileage off a story about a woman raped by a police officer, never once blaming or exploiting the victim but lambasting the culture and mindset that makes such a crime possible).

The fact these stories are told from a vibrant feminist / sex positive point of view makes them relevant to this day, and Flenniken’s ability to draw both truth and humor from dysfunctional families, emotional abuse, and drug use keeps them from being one-note exercises.

Most importantly, Flenniken comes across as strongly pro-child, even while honestly depicting her own characters’ failings and misconceptions.

She always brings a genuine emotional connection with her characters as adolescents, neither glorifying nor patronizing them.

One of the most notorious Trots And Bonnie strips finds Bonnie looking at herself in a mirror, fantasizing she’s famous actresses of the past.*  

At the hands and brush of Norman Rockwell, this theme tries for poignant but lands in schmaltz, looking down on an anxious child studying her reflection in a mirror; in far too many bad novels by sub-par male writers, it’s borderline (and often not-so-borderline) pornography.

At the touch of Flenniken’s deft pen, it’s honest and sweet and shockingly frank but it never depicts Bonnie as a figment of the male imagination but as a character and personality all her own.

Flenniken has not done any new Trots And Bonnie strips since the last ones published in NatLamp in 1993.

To be honest, I think that’s a good thing.

The characters are of their particular time and cultural gestalt, it may not be possible to recapture that lightning in a new bottle, and rather than diminish the old, perhaps it best remains a perfect artefact of its era.

Mark Twain tried repeatedly but could never transport Tom Sawyer and Huck Finn out of antebellum Hannibal, and to use an example more contemporary to Flenniken’s work, the Fabulous Furry Freak Brothers resolutely thwart all efforts to move them out of San Francisco during the Summer of Love.

You can’t go home again, as Thomas Wolfe famously observed, but that only applies if you’ve successfully left home.  At a certain point, if you haven’t moved beyond your old confines, you never will.

Flenniken’s honest frankness could have turned into a big crosshair on her back during the cultural wars, but to paraphrase John Lennon, life happened while she was making comix.

She married twice, divorced once, widowed the second time.  While she never completely withdrew from professional illustration, she no longer sought out the high profile gigs.

Trots And Bonnie from New York Review Comics is the first extensive English language compilation of her strips and stories, a very handsomely produced volume designed by Norman Hathaway.

The strips are meticulously presented, making it possible to enjoy Flenniken’s fine line work and exquisite character depictions in greater detail than every before.  It’s a genuine delight, sure to thrill old time fans of the original strip and quite likely to win a new generation of admirers.

But brace yourselves, noobs, this ain’t your grandma’s Betty Boop…

© Buzz Dixon

 *  It should be noted that for all its apparent revolutionary newness, the counterculture of the 1960s and 1970s, the crucible that forged Flenniken’s point of view, also enthusiastically embraced the past.  W. C. Fields and the Marx Brothers became cultural icons to a new generation, Betty Boop regained her old popularity, old movies were rediscovered and reimagined, African-American spirituals and blues sprang from new voices, obscure books and novels from earlier decades and centuries became the new cultural touchstones.

I’ve posted elsewhere on how the boomer generation enjoyed a unique conflation of new technology and old media to produce a brand new synthesis; there has been nothing like it since even with astonishing advances in technology.  When old media is rediscovered and reinterpreted in this era, it too often tends to be in the form of irony, which mocks that which it cannot understand.

Give those old hippies their due -- they got the &#@%ing point!

[justforbooks]

The Lisa Computer System – Apple designs a new kind of machine

Gregg Williams Senior Editor

I had an interesting conversation with an engineer on a recent flight from San Francisco to New York. He knew only a little about microcomputers, but he was aware that their presence is slowly becoming more common in the workplace. “Sure, the industry is healthy, but it’s still only reaching a few people,” he said. “Most people won’t use computers they’re afraid of them, they don’t know what to use them for, or it’s too much trouble to use them. Before computers become really profitable, they’re going to have to be very easy to use. They have to be simpler. They’ve got to be useful in the office.”

He continued, “We’ve got to stop using paper which means the computer has to do word processing, filing, electronic mail, everything or it’ll be too much trouble having some things on the computer and others on paper. Then you’ve got to be able to talk to other computers other computers like yours and some big corporate computer that’s halfway across the country. Sure, it’s a lot of stuff, but when you get all that together, then you’ll see computers really take off.” What could I say? Not very much, for two reasons. First, he was absolutely right we need all that and more before computers become as commonplace as color TVs and electric typewriters. Second, I had agreed not to talk about a computer I had just seen that meets many of his points: Apple Computer’s highly secret Lisa computer (see photo 1).

The Lisa at Work

Before we take a detailed look at what the Lisa is and how it came about, let’s look at an example of what it can do. Suppose I’m writing a report for my boss and I want to prepare a chart to illustrate a certain point. With a few movements of the mouse (more on this pointing device later), I “tear off” a sheet of Lisa Graph “paper” (thus activating a program called Lisa Calc and displaying an empty grid on the screen) and give it the heading “Annual Sales.” I then type my numbers into the grid, name the graph and the x and y axes, and request a bar graph.

Voila: I get the bar graph (superimposed on top of the data) shown in photo 2a. At this point, I can simply print the graph or save it for inclusion with my report, but I’m not satisfied with the way it looks. I then use the mouse to “cut” the graph from the Lisa Graph paper and put it in a temporary storage place called the clipboard. I can then “throw away” the Lisa Graph “paper” I was using.

My next step is to “tear off” a sheet of Lisa Calc “paper” and paste my “Annual Sales” bar chart from the clipboard onto it. Photo 2b shows the result.

I want to make the bars darker, so I use the mouse to move the cursor (the arrow pointing diagonally up in photo 2b) onto the rectangle and tell the computer that I want to work on that bar by clicking the button on top of the mouse twice. (I could almost as easily have selected all four bars, but I’ll just do one here.) As a result, the bar is selected, as shown in photo 2c. (In the Lisa system, you first select what you want to work on, then you select the action you want performed.) The small black squares that appear on the edge of the object are called handles; not only do they show which object has been selected, they also serve as “handles” by which the cursor can move or alter a shape.

Now that the bar is selected, I move the cursor to one of the menu titles at the top of the screen (also shown in photo 2c). I see the menu of possible actions by pointing the cursor at the menu title and holding down the mouse button (photo 2d). Here, the menu is a grid of 36 varieties of shading that can be used to fill the selected area. When I move the cursor to the desired shade box and let up on the mouse button, the pop-up menu, as it is called, disappears and the shading fills the box (photo 2e).

It is equally simple to change the size, type style, and position of the title “Gross Sales.” By holding down the mouse button when the cursor points just to the left of the first letter and letting it up when the cursor points just past the last letter, I can select an area of text that the Lisa then puts in reverse video (photo 2f). When I select an option from the ‘Type Style” menu (photo 2g), the text is redisplayed in its new size and style (photo 2h). I then modify the title to an italic font in a similar way (photo 2i). Finally, I pick up the title with the cursor, “drag” it to a new location, and leave it there (photo 2j). Many other alterations are possible. When I’m satisfied with the graph, I can print it, save it, or do both.

This example conveys only a fraction of the speed and the ease of use associated with the Lisa computer and the programs that go with it. Now that we’ve seen the system at work, let’s take a look at what makes it so different.

Foundations of the Lisa Design

The design effort that resulted in the Lisa computer is remarkably innovative because the designers did what designers should do define the product’s prospective customers, determine their needs, and then design a product to meet those needs. Apple was also willing to give its designers enough time and money (with no marketing restrictions attached) to first design and then create a computer that redefines the expression “state of the art.” Granted, the Lisa’s designers drew heavily on previous work done at Xerox PARC (Palo Alto Research Center), but they refined several borrowed elements and combined them with numerous innovations. (For further information on the design process, see “An Interview with Wayne Rosing, Bruce Daniels, and Larry Tesler” on page 90.) Apple started this project with the intention of creating not only a product but the foundation for a whole new computer technology, one that would create computers literally anybody can use. The company’s first task was to devise a new user interface that is, a new and better way for humans to interact with the computer. The result was an internal (to Apple Computer Inc.) “User Interface Standards” document that describes how a user interacts with the Lisa system.

Although the Lisa design has several important elements, four stand out: the machine’s graphics-mouse orientation, the “desktop” and “data-as-concrete-object” metaphors, and the integrated design of the hardware and software. Let’s look at each of these in turn.

The graphics-mouse orientation: The traditional text display and keyboard input device make for a computer that is let’s face it not too easy to use. Apple decided that the graphics resolution of the machine had to be high enough to use pictures (often called icons by Apple) in place of text. (For example, see the icons on the right-hand side of photo 2a.) Pictures are more easily recognized and understood than text. Because of this, you can probably figure out that the garbage-can icon in photo 2a is used to throw something away.

Apple also knew that it needed a new, easier-to-use input device to move the frequently used arrow-shaped cursor. The designers passed over such devices as light pens and touch-sensitive video panels in favor of the mouse, a pointing device used in several Xerox PARC machines. The mouse, which is about the size of a pack of cigarettes, has a small bearing on the bottom and one or more buttons on the top (see photo 3). When you hold it in your hand and slide it across a flat surface, the mouse sends signals to the computer, which guide the video cursor in the direction that you’ve moved the mouse. The mouse Apple designed has only one button; Apple broke with the conventional wisdom of two- and three-button mice after user tests indicated that people aren’t always sure which button to push on a multiple-button mouse.

With graphics of sufficient quality and a mouse, the Lisa lets you get what you want by pointing at it. Because the video cursor moves in direct response to the way the hand moves the mouse, you feel as if you’re actually pointing at something on the screen. This has the positive psychological effect of making you feel in control.

The “desktop” metaphor: When you turn on the Lisa system, the screen is empty except for the presence of several icons. The Lisa computer depends on the metaphor that the video display is a desktop, while the icons are objects on the desktop. Each peripheral connected to the Lisa (floppy and hard disks, printers, and other peripherals connected by interface cards) is represented on the desktop by either an icon (if it is not in use) or a rectangular area called a window (if it is available for use). The Lisa computer normally replaces the conventional file directory with a collection of objects displayed in the window of the associated mass-storage device. Each file is represented by an object of some sort usually a report, a tool, or a document and objects can be grouped together in folders, which are also treated as objects. (Actually, the computer can give you a conventional directory on request, but only traditional computer users will ask for this option.) An example of the Lisa file system will illustrate how useful this metaphor is. From a cleaned-up desktop with nothing but icons on the right of the screen, I use the mouse to point to the Profile (hard disk) icon and click the mouse button twice; this has the effect of “opening” the Profile and displaying its contents. The Profile icon changes to a white silhouette and its original black-on-white shape expands to a window named “Profile.” ( Photo 4a was taken after three items shown as black icons had been selected for manipulation. When the Profile icon is first opened, all of the icons inside it are white that is, unselected.) To view and then work with the contents of the Tools folder, I put the cursor on the folder and click the mouse button twice. The icon expands, leaving a gray silhouette and a window named “Tools,” as shown in photo 4b. The window is just that a window into whatever the Tools folder contains. The symbols on the margin of each window are points from which the cursor can direct several operations on the window. For example, when the cursor points to the small folder icon in the upper left-hand corner of the Tools window and the mouse button is clicked twice, the folder “closes” and the video display reverts to the image it had before the folder was opened.

If the Tools folder contains more than the window can show, you can do one of two things to see the additional contents. First, you can scroll the window either horizontally or vertically. Second, you can put the cursor on the expand/contract icon (in the lower right-hand corner of the window), hold down the mouse button, and move the cursor. An outline of the window follows the cursor (photo 4c); when the mouse button is released, the window grows to its new size (photo 4d).

Once you’ve been shown the mechanics of manipulating objects and windows, you have a working knowledge of several essential operations of the Lisa file system (called the “Desktop Manager”). The desktop metaphor does two things for you. It helps you to remember certain operations because they make sense in the context of the object-related icons. Second, it draws on your general knowledge of office supplies and how they are used. These elements help Apple achieve its objective of creating a system that people can learn to use some aspect of in under 30 minutes.

The “data-as-concrete-object” metaphor: More than anything else, this metaphor is the foundation of the Lisa computer design and its probable success. As you can see from the example above, the Lisa file system makes you feel as if you are actually moving and changing objects, not merely manipulating abstract data. The Lisa Graph/Lisa Draw example shown in photos 2a through 2j creates the same illusion, as do all the other Lisa application programs.

The “data-as-concrete-object” metaphor depends on a condition most computer programs don’t fulfill: that intuitively reasonable operations can be performed on objects at any time. Most computer programs have modes that restrict your activities at any given time; for example, many word-processing programs don’t let you do numeric calculations and then incorporate them into the document you’re writing. With the Lisa application programs, however, you can switch your attention from a sheet of Lisa Write “paper” to a sheet of Lisa Calc “paper” and back with no problem, just as you could if they were two sheets of paper on your desk.

Because you deal with recognizable objects such as folders and reports, you feel secure in the knowledge that your data will not disappear. “After all,” it seems to be telling you, “computer files can mysteriously disappear, but folders, reports, and tools do not. If a file disappears, there’s a logical explanation — either you threw it away or you filed it elsewhere. In either case, the situation is still under your control.” In other words, the “data-as-concrete-object” metaphor demystifies the computer by transforming data into physical objects that behave in a predictable and reasonable way.

Integrated design: Not only is the Lisa computer the result of an integrated design, it is also the result of an iterated one. The Lisa hardware and software were designed only after Apple had identified the needs of its target users. Once a given version of the system was implemented, it was tested by the kind of people who would eventually be using it. The test findings dictated hardware and software changes, and Apple went through the design/test/revise cycle several times until everybody was satisfied with the result. This ensures that the Lisa does not fall prey to a problem common to microcomputers: being technologically sophisticated, but still hard or inconvenient to use.

During the iterations of the design process, the Apple design team looked for opportunities to have separate Lisa programs do their tasks in the same way. It then incorporated these common operating procedures into the Apple user-interface standard and tried to apply them to other Lisa programs. The result is a large amount of common behavior and structure among all the Lisa programs. For example, you enlarge or move a window the same way whether it is a Lisa Calc window or a Lisa Draw window. You also open, close, copy, and rename objects the same way throughout the system.

According to Apple, this attempt at standardization has two advantages. First, it shortens the time an average person takes to become comfortable with a system from a range of 20 to 40 hours (Apple’s estimate, based on tests it conducted) to several hours. Second, it lets you apply what you learn in one program to all other programs.

This commonality among Lisa programs is largely ‘ responsible for the ease with which beginners learn how to do something useful on the Lisa computer; it usually takes less than half an hour, even for people who have never sat in front of a computer before.

The Lisa Application Programs

The Lisa system will be offered with six application programs. Both new packages and improved versions of the first six programs will be offered at a later date, and in time third-party software developers working with cooperation from Apple will create additional programs. At this writing, no price had been set for the programs, but Apple expects them to cost between $300 and $500 each, a justifiable price for programs of this caliber.

I don’t have room here to describe all the features of each program. Instead, I will comment briefly on each one and say that, in general, all of them have more options and features than most people will use. (See photos in which popup menus are visible for an idea of some of the commands available.) One in particular deserves mention: the “Undo Last Change” command, which is available in every program. This wonderful command lets you undo the effects of the last one you issued. It’s a tremendous security blanket that enables you to experiment and work without worrying about making an irrevocable mistake.

Here are the six application programs (a telecommunications program, Lisa Terminal, is covered in the section on “Communications and Databases.”): Lisa Draw is easily the showpiece of the Lisa system. The example in photos 2b through 2j shows only a small part of what it can do. See photos 2d, 2g, and 5a through 5d for some of the pop-up menus. Lisa Draw enables you to draw lines, boxes, circles and * ellipses, arcs, and polygons all with the mouse. You can add text at any place in any of 11 typeface/size combinations. In addition, you can modify any typeface with any combination of underline, bold, italic, hollow, and shadow styles for a combination of 11 X 25 or 352 distinct kinds of type. Lisa Draw has grids and rulers that can be displayed to help make drawings neat. Shapes can be selected and centered by a given horizontal or vertical edge. You also put Lisa Draw in an “auto-grid” mode that causes lines and shapes to align themselves with the grid you have chosen. Drawings can cover as many as 25 pages; Lisa Draw prints them out a page at a time and you join the edges together to make a larger drawing a convenient feature if your drawing can’t fit on one page. This program is a joy to use.

Lisa Write is the best “what-you-see-is-what-you-get” word processor I’ve seen. Between the keyboard and the mouse, you can add, change, delete, and move text, change its appearance, reformat it, and do just about anything you’d want to in a word processor. Of course, you can see each page exactly as it will appear on paper (see photo 6). My only criticism of the program is that the version I saw paused a second or so between when I typed a phrase and when it appeared on the screen. The delay is due to the large amount of processing the machine has to do before it can display the new text (and perhaps scroll other text down), but the designers are aware of the problem and are working on minimizing the time delay in the final version.

Lisa Project is used to keep track of projects and personnel, and it does so using PERT (Program Evaluation and Review Technique), Gantt, and task charts. Using the mouse and the keyboard, you can add, delete, move, change, and label activity boxes. Each box contains the activity name and its personnel and time requirements. The Lisa Project program displays the PERT chart (see photo 7a), drawing a heavy outline around the activity boxes on the critical path (a path of activities for which delays will lengthen the duration of the project). The program can also optionally use such information as worker vacation times and the length of the work week to influence the final chart. You can also have the program show the early-start, early-finish, late-start, and late-finish dates associated with the PERT method. The Gantt chart (photo 7b) shows resource utilization over time, including unutilized resources (shown in gray). The task chart (not shown) displays tasks by their early-start date.

Like the rest of the Lisa system, Lisa Project gives you incredibly clear error messages. For example, when you try to take the “end” circle off the screen, you get the error shown in photo 7c, which must be answered before you can continue.

Lisa Calc is as sophisticated a spreadsheet program as any other on the market. In this instance, I don’t think the mouse improves on cursor keys because one hand has to alternate between the mouse (to move the spreadsheet cursor) and the keyboard (to enter data into the spreadsheet cells). In any case, most people who want a Lisa computer are interested in the kind of structured numeric recalculation that spreadsheets are good at, and Lisa Calc certainly fills this need. Of course, data can be traded between Lisa Calc and other Lisa programs without restriction, which means, for example, that you can “paste” a section of spreadsheet data into a document being prepared by Lisa Write. Photos 8a and 8b show the process of displaying the formula of each cell along with its value.

Lisa List, a single-user database that permits records of up to 100 fields totaling 1000 bytes, probably illustrates best the “data-as-concrete-object” metaphor. When you add, change, or search for records, you work directly on the list visible in the window, not on an auxiliary display (like a data-entry screen) that limits you to working on the current record only. Record fields are defined as being one of eight data types (text, number, date, money, time, social-security number, phone number, or zip code), and Lisa List does automatic type-checking during data entry. Photo 9 shows an example of a Lisa List window. One slight problem is that the social-security number, phone number, and zip code fields have fixed formats for example, zip codes are limited to five digits. You must revert to the general-purpose text format if you want to be able to convert to 9-digit zip codes or use foreign telephone numbers.

Lisa List has many attractive features. Of course, you can display or print parts of the list in many ways; you can sort the list in several ways or select records according to given criteria. You can move the cursor with either the mouse or the arrow keys. The contents of fields are stored internally in a compact form to increase the overall storage capacity of the program. In addition, Lisa List has two very useful features that every database should have: the ability to add fields to or change field widths in an existing file and the ability to put any amount of information in a field regardless of its stated width (field width influences only how much data is visible).

Lisa Graph is an application program that creates a bridge between the number-oriented Lisa Calc and the picture-oriented Lisa Draw. Lisa Graph takes a matrix of numbers (entered either by the user from Lisa Graph or transferred from another source) and creates virtually instantly a bar, line, mixed bar and line, scatter (x-y plot), or pie chart. Photo 2a shows a typical Lisa Graph window, and the sequence of photos 2a through 2j shows how Lisa Draw can customize a drawing from Lisa Graph.

Reliability

Computers are worthless if nobody uses them, and the i Lisa system has made great strides toward eliminating that possibility. Certainly, it has been designed to be easy to use. But the Lisa system will probably be used by computer novices because of its reliability, both in the physical and psychological sense.

Physical reliability is the kind that makes an engineer feel secure. Apple IIs, for instance, have a reputation for being very reliable, and I’m sure that the Lisa computer was engineered with even more care. (For example, the Lisa is constructed as a series of modules, any one of which you can pull out without tools. And despite its internal complexity, it was engineered to dissipate excess heat without a cooling fan that’s engineering!) I can’t say how reliable the Lisa is overall because I don’t have enough direct experience with it. But I do know that Apple has concentrated on improving the reliability of the source of a great many problems: the floppy disk. Despite the features of the Lisa disk drive that put it at the leading edge of disk technology (see the text box “The Lisa Hardware” for more details), Apple claims that the hardware (assisted by its sophisticated disk-accessing software) has an error rate so low that Apple couldn’t quantify it during tests. Apple said, however, that the hardware makes less than one error in one trillion (1012) operations.

Apple has also adopted a redundant data structure for information on the disk that lessens (or sometimes eliminates) the effect of losing a sector of information. This redundancy is on three levels blocks, files, and The Lisa Hardware.

Reporting on the technical specifications of a computer toward the end of an article is unusual for BYTE, but it emphasizes that the why of Lisa is more important than the what. For part of the market, at least, the Lisa computer will change the emphasis of microcomputing from “How much RAM does it have?” to “What can it do for me?” For example, it is almost misleading to say that the Lisa comes with one megabyte of RAM, even though the fact itself is true. That doesn’t mean that the Lisa is sixteen times better than machines that have 64K bytes of RAM. Nor does it necessarily mean that the Lisa can work on much larger data files than other computers; its application programs each take 200K to 300K bytes, which significantly reduces the memory available for data. It’s more instructive to say, for example, that the Lisa with one megabyte can hold a 100-row by 50-column spreadsheet (as its advertisements state). With this in mind, let’s take a look at the Lisa.

“Lisa” stands for Local Integrated Software Architecture, but it’s really just an excuse to retain Apple’s pet name for the project. The Lisa has a 68000 microprocessor, which is a true 16-bit microcomputer that has a 16-bit data bus, a 24-bit address bus (giving access to 16 megabytes of memory), and 32-bit-wide registers (all but the 16-bit status register). The 68000 in the Lisa runs at a frequency of 5 MHz. It can have up to 1 megabyte of memory with parity and comes standard with one megabyte (1024K bytes).

The video display is a 12-inch monochrome monitor (black and white, not tinted) with a resolution of 720 by 364 pixels. The interlaced image is refreshed at 60 Hz, which eliminates the possibility of eyestrain from subliminal flickering. The video display is completely generated by internal software, so the Lisa can use multiple character sizes and fonts without restriction. It also means that Apple is not restricted to any one style of video image; the designers can radically change the behavior of the system with a new release of software.

The Apple 871 disk drives design (called “twiggy drives” inside the company) are significantly different from conventional floppy-disk drives. Each one uses a 6504 microprocessor as a “smart” interface between it and the Lisa. The drives use special high-density, double-sided floppy disks that have two oval cutouts in the jacket (see photo below). These are essential because the two disk heads, in addition to being on opposite sides of the flat magnetic media, are not pointed at each other with the magnetic media between them, as is the case in all other double-sided floppy-disk drives. Instead, a pad presses the rotating magnetic media to the disk head on the opposite side of the media as is conventionally done with single-headed floppy disks.

Each formatted disk holds 860K bytes of information at a density of 62.5 tracks per inch; together the two drives (standard on the Lisa) hold 1.72 megabytes of data. Each drive also contains a mechanism that releases the disk for removal under program control, which prevents the user from removing a floppy disk prematurely. As with other Apple products, the floppy disks rotate only when the drives are reading or writing data, thus extending the lives of both the drives and the medium.

Apple has done several things to achieve its unusually high data density. The designers used an encoding scheme that keeps a constant data density of 10,000 bits per linear inch; this allows the outer floppy-disk tracks, which have a larger circumference, to store more data than the tracks nearest the center of the disk. In addition, the disk-access system software can move the disk heads in fractions of a track width to search for and find the middle of the track. That’s an important feature when you’re reading disks with small variations in track width.

In addition, the Lisa comes with one Profile (Apple’s 5-1/4-inch Winchester-type hard disk) to the Lisa through its parallel port. It adds 5 megabytes of magnetic storage to the Lisa system, and speeds up the overall operation of the system. Additional Profiles can be added via interface cards.

The Lisa computer is never really turned off. It stores “system preferences” (things like speaker volume and video contrast) and system-configuration information inside the computer. Even when it is turned “off,” it draws enough power to keep the clock/calendar and CMOS memory containing the above information working. When it’s unplugged (for example, when it’s being moved to another location), internal batteries preserve the clock/calendar status and CMOS memory for up to 20 hours.

The Lisa includes two programmable serial ports and one parallel port as well as three expansion-board slots, each of which connects directly to the system bus and has direct memory access (DMA) capabilities. Because none of these slots is filled in any “basic” configuration of the Lisa, they are available for future expansion (unlike the IBM Personal Computer’s five slots, most or all of which are used for much-needed video-display and memory cards). Other features include a built-in speaker and a real-time clock (which can be programmed to execute tasks or turn the computer itself on or off at a given time), a microprocessor-controlled detachable Selectric-style keyboard, and a mouse.

I must thank Apple for including something I’ve wanted to see for a long time: unique serial numbers encoded into memory. The Lisa has two of these: an actual serial number disks and a given level in error is correctable by data in the next lower level. On the block level, each 512-byte block of data has a 24-byte area of hint bytes. These identify the file to which the block belongs and its block number within the file. On the file level, each file contains a header that duplicates information in the disk catalog. On the disk level, each floppy disk keeps a file of information about the status of each file on the disk. The Lisa system software automatically tries to reconstruct information that is lost, so it recovers from errors that would halt other computers.

Psychological reliability is the kind that makes an office worker secure. The Lisa floppy-disk drive is unique in this respect. On the Lisa computer, you can’t yank your floppy disk out any time you want to (if you could, you might, for example, remove the disk before files on it are updated). Instead, you press the Disk Request button beside the disk-drive slot. The software in the Lisa computer checks your work space, closes any files belonging to that disk (thus updating the file), then ejects the floppy disk so you can remove it.

A similar thing happens when you turn the Lisa “off” (actually, it’s never completely off; it just goes into a low-power mode). In any case, when you hit Off button, system software automatically closes all open files, thus transferring the information in them to their respective floppy disks, and releases the disks from the Lisa disk drives. In addition, the software records the status of the “desktop” so that, when the computer is reactivated, Lisa automatically returns it to the appearance and state it was in when the Lisa was turned “off.” Although those who have worked with computers before will find these features hard to get used to, most newcomers will be reassured by them.

The design of the Lisa application programs (which are the only things most Lisa users will see) is another example of psychological reliability. Many people have vague fears of computer programs because they think they’ll do something wrong and cause a catastrophe that will make them look foolish. This won’t happen with the Lisa system for two reasons. First, the Lisa software is designed to be very understandable. The metaphors make people comfortable with the manipulation of data, error messages are both clear and complete and tell you what alternatives you have, and, in general, the programs let you know where you stand and the consequences of a given action. Second, the Lisa computer has the “Undo Last Change” command mentioned earlier. With this command, even the most uncertain users will not hesitate to act in a way they think is appropriate. The way Lisa programs work, the user probably is right, and if he isn’t, he knows he can undo whatever happens. People who won’t trust most computer programs will trust Lisa programs.

Communications and Databases

As the engineer I talked to pointed out, no computer is going to be the most important piece of equipment in an office unless it can easily interact with other computers. This need has been integrated into the design of the Lisa system in several ways.

First, a communications program called Lisa Terminal allows the Lisa computer to emulate several popular terminals (Digital Equipment Corporation’s VT52 and VT100 terminals and Teletype Corporation’s ASR-33). The Lisa Terminal program includes all the options that a given terminal allows, even down to simulated status lights. A future Apple terminal program will enable the Lisa to emulate the IBM 3270 family of terminals.

Second, Lisa computers can be connected together via a new local network called Apple Net, which Apple hopes to promote as an industry standard because it feels that other networks have major cost or performance problems. According to Apple, Apple Net meets four criteria that it thinks are important: it can be easily installed by the user, it is highly reliable, it is easily extendable to include more nodes or to interface with other networks (like Ethernet and other Apple Net networks), and it has a low per-node (under $500) cost. A-Net has a bandwidth of 1 megabit per second, can have up to 128 nodes, uses a shielded two-conductor wire for interconnecting nodes, and can have a maximum node-to-node distance of 2200 feet. Apple Net uses the same method as Ethernet to avoid message collisions (CSMA/CD carrier-sense, multiple access with collision detection) and is compatible with the Ethernet on the top five of the seven levels of communication protocol. For those who want it, though, Apple will also make Ethernet interfaces available at a cost of about $1500 per node.

Third, Apple has distant plans to make it possible for Lisa computers to talk to non-Lisa computers and to shared or remote databases. Although the people at Apple did not discuss specific products, they told me enough to assure me that they are planning extensions in this direction that will make it even more useful.

When these items are available for the Lisa, Apple will have overcome a very big problem: really integrating the computer into the full office environment. That usually includes both local and remote computers. Whatever the needs of a given office, the above products ensure that the Lisa computer will be as useful as any other “office automation” product available from other companies.

Service

The people I talked to at Apple made it clear that, with regard to Lisa, they were going to offer better service options than any other computer company, including IBM, DEC (Digital Equipment Corporation), and Wang. A diagnostic program called Lisa Test (supplied with the Lisa) enable it to isolate the computer failure to a single board or component; in the case of severe problems (when the disk drives aren’t working, for example), a built-in test program that runs whenever the Lisa is turned on will diagnose and report on the problem. As I mentioned before, the Lisa is designed so that you can take it apart without tools (a detailed manual explains how).

Apple offers several service options. If you have on-site service (available through a joint agreement with RCA), you simply call Apple and let a service person fix the problem. For large-quantity customers, Apple can provide training to teach employees how to do in-house repairs. For individuals, Apple Care Carry-In Service is available.

In addition, Apple is planning what it calls Direct Phone Support. For a yearly fee, the user will have access to a toll-free number that is answered by a highly trained support person. Apple has high standards for this service, and I’m sure that, once the service has started and is running smoothly, Apple will deliver what it promises. The company expects its representatives to answer 90 percent of the calls received; people whose problems cannot be answered immediately will be called back when the answer is found. If equipment needs to be repaired, the Direct Phone Support person will call the appropriate repair people and dispatch working modules, so that one call will usually solve the problem. Different support-option plans available will range from 9 a.m. to 5 p.m. weekday service to 24-hour-a-day, 7-day-a-week call-in support. Apple also plans to provide software revisions and support through this option, although details had not been decided on at this writing.

Documentation and Training

I have seen only drafts of miscellaneous pieces of Lisa documentation, but they indicate that the final documentation will be superb. Apple plans to provide the Lisa Guide, an interactive teaching program about the Lisa system, and reference books for each application package; each reference book will begin with a short tutorial section that will get users doing useful tasks in under half an hour. Other documentation may be included, but the information was not available at the time we went to press.

Even though the Lisa is meant to be a very easy product to use, Apple will provide training to make sure that people learn how to use it. As one Apple spokesperson put it, “Training is part of the Lisa product.” Apple will offer extensive training to all Apple dealers and to selected groups from companies that make large-volume Lisa purchases. Apple will also make training kits available to multiple-unit purchasers to help them train their employees. Individual Apple dealers may offer additional special training.

Future Plans

In the microcomputer industry, products are generally announced early (sometimes before they are designed) and released in preliminary versions before all the features have been integrated into them. Apple is to be commended for resisting this practice. In fact, the company seems to have released a more complete first version of the Lisa than most companies do with their products; the first Lisa sold will be a fine machine.

However, the ambitious and talented people who designed and implemented the Lisa computer have already envisioned and planned for quite a bit more than they can implement by release date. I’m sure they have some ideas they don’t want to publicize (and rightly so), but here are some things they were willing to talk about: By 1984, Apple plans to replace its 512K-byte memory card (two of which can be fitted into the Lisa computer) with 1-megabyte cards, thus increasing the memory capacity from 1 to 2 megabytes.

As soon as possible, Apple plans to introduce versions of BASIC, Pascal, and COBOL for the Lisa. The BASIC will be compatible with Digital Equipment Corporation’s BASIC Plus (unlike IBM Personal Computer BASIC, it will be able to use the extra memory above the first 64K bytes). The first releases of these languages will be “plain vanilla” versions that don’t interact with the computer’s special features (e.g., mouse control of the cursor, windows, the “desktop” metaphor), but later versions will probably integrate these languages into the Lisa system. Another language that will be available for the Lisa computer is Smalltalk. I was pleased to see Smalltalk working on a Lisa computer a year and a half has passed since our special Smalltalk issue in August 1981, and no commercially available computer to date has used it. Smalltalk on the Lisa computer will change that. It is a very “possessive” language that directly controls the machine it is implemented on, so it will probably never be integrated into the Lisa environment but then, it doesn’t need to be.

Smalltalk is just one example of a language/operating system that can occupy the Lisa machine. The Lisa will also support Digital Research’s CP/M family of operating systems and Microsoft’s Xenix (a licensed version of Unix that includes business-related extensions). Outside developers will be encouraged to carry operating systems across—one such possibility is Softech Microsystems’ UCSD p-system.

Apple will be making enhancements to the existing Lisa application programs. On first release, the only limitation in sharing data among Lisa application programs is that you won’t be able to “paste” graphic images into a Lisa Word text document (you can, however, add text to a Lisa Draw drawing). Bruce Daniels, one of the Lisa designers, told me that the design allows for adding graphics to a text document but that they simply can’t implement the feature in time for the first software release. It will be added by the next release.

Apple is very conscious of the fact that the success of the Lisa will be heavily influenced by the availability of good third-party software. To encourage such software, the company will make available a “programmer’s toolkit” package of software and documentation sometime this year. This toolkit will give third-party programmers all the information they need to build on the considerable utility software (window-control, disk-accessing, intelligent graphic-redrawng, and memory-management routines, for example) already available in the Lisa operating system. (The operating system itself is about half a megabyte of code, though only 200K to 300K bytes of it are resident in memory at the same time.) In addition, the toolkit will list the user-interface conventions that were used to create the existing six application pack-ages and will strongly suggest that third-party software will be better received (by both Apple and the consumer) if it follows these conventions. The Apple-generated application programs are so wonderful that most programmers will consider it an achievement to create similar software.

Caveats

I wrote this article after working with a Lisa computer for several hours and studying various Lisa documents. The application packages were completely functional, but I was told changes were still being made to them. The released versions of software may be faster because debugging aids were probably slowing down the version I saw.

Performance

The Apple Lisa was faster than I remembered a similar machine being (an experimental Xerox machine running Smalltalk) and faster than I expected it to be. Granted, a 68000 microprocessor is in the computer, but it was being asked to do a lot including the manipulation of 32K bytes of video-display memory. Objectively, I must report some delays (30 seconds, maybe) when loading in files, but these were shorter than what I usually encounter using CP/M-based business programs. In any case, I didn’t notice any delays while actually using a given program, which is where you spend most of your time, anyway. I expect that the Lisa computer you’ll see in Apple showrooms will be slightly faster than the one I saw.

Conclusions

As you can tell, I am very impressed with the Lisa. I also admire Apple for deciding to make the system with-out being unduly influenced by cost or marketing constraints. The Lisa couldn’t have been developed without such a deep commitment, and no other company I can think of could afford such a project or would be interested in doing it this way (the Lisa project reportedly cost over $50 million and used more than 200 person-years of effort!). In terms of the actual, as opposed to symbolic, effect it will have on both the microcomputer and the larger-computer market, the Lisa system is the most important development in computers in the last five years, easily outplacing IBM’s introduction of the Personal Computer in August, 1981.

As this went to press, Apple announced that the Lisa will be sold in one configuration only: the computer with 1 megabyte of RAM, two floppy-disk drives, the Profile hard disk, the six application programs (Lisa Draw, Lisa Write, Lisa Project, Lisa Calc, Lisa List, and Lisa Graph), and Lisa Test diagnostic program; the price of this package is $9995; it will be available in the U.S. this spring, and modified foreign-language versions will be available this summer.

Fortunately for us, the history of computing does not stop with the Lisa. Technology, while expensive to create, is much cheaper to distribute. Apple knows this machine is expensive and is also not unaware that most people would be incredibly interested in a similar but less expensive machine. Well see what happens.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[redrumluna]

Broadway & Accesibility

Written by L. Musch

 Broadway in NYC consists of 40 theaters that are visited by over 12 million audience members annually. 80% of all tickets in the 2014–2015 season were purchased by caucasian theatregoers. The average age of the Broadway theatregoer in the 2019–2020 season was 42.3 years old and the average household income of these audience members was $261,000, much higher than the U.S national average of $87,863. The average price of a ticket for a Broadway show has been reported to be $145.60 per ticket. In other words, these audiences are, mostly, old, rich and white. In this essay I’m gonna discuss how social media has been revolutionizing Broadway and the theatre experience over the past few years.

 On january 10th, 2009, the Broadway revival of the musical GYPSY was ending it’s run at the St. James Theatre. Broadway icon Patti LuPone (who won her second Tony award for her performance in this production) noticed several camera flashes coming from the audience, causing her to almost trip twice. When another flash went off she stopped the show to yell at the audience member taking pictures and had them kicked out. After that she continued her performance. While this event was happening another audience member made an illegal audio recording from this performance. The recording ended up on YouTube and the rant went viral. 

Due to the lack of accesibility surrounding Broadway, there’s a huge demand for illegal footage of performances, which is why bootlegs (illegal recordings of Broadway shows) are the perfect solution for fans who wouldn’t be able to experience the shows in person. To fans, bootlegs give the complete picture of the Broadway experience. It includes the parts of the show that aren’t in the official cast recordings, which can be important, because often just hearing lyrics and music cannot justify the plotholes between the songs. Bootlegs give fans all over the world an understanding of the show, even if it’s recorded with a low quality phone and another audience member’s head is in frame for most of the video. 

Although many theatre people, including actors such as Patti Murin (Anna in Frozen the musical), believe that bootlegs will destroy Broadway forever. Because they believe that people will stop paying for the shows since they can see them online for free.

 Personally, I believe this is a very privileged way of thinking. The fans that watch, post and trade these bootlegs are mostly teenagers. Teenagers who constantly tweet about their favourite broadway shows, who stream these cast recordings on spotify and who get shows that are currently on Broadway trending on apps like TikTok.

 I’d like to use the Broadway hit Hamilton as an example. When the show started it’s run on Broadway it didn’t take long for it to become huge on social media, teenagers quickly started an online fan community on sites like Twitter and Tumblr and the soundtrack was everywhere. Hamilton bootlegs on YouTube got the most views out of all of them, yet it was the second-highest-grossing show (behind only The Lion King). The show set a Broadway box office record for the most money grossed in a single week in New York City in late november 2016, when it grossed $3.3 million for an eight-performance week. the first show to break $3 million in eight performances.

I also believe Hamilton’s online succes has a lot to do with it’s creator and lead Lin-Manuel Miranda being very active on Twitter and engaging with young fans, posting loads of backstage content and answering many questions about the show. Another show that has gained a lot of attention because of social media is Beetlejuice the musical. Presley Ryan (Former ensemble member and now currently starring as Lydia Deetz in the show) started sharing videos of her and other cast members on the app TikTok. Beetlejuice didn’t do very well in the first weeks of it’s run, but became a huge hit when the soundtrack started going viral online.

 “TikTok was a game changer for Beetlejuice because it allowed our original cast recording to reach millions more young people than Broadway marketing campaigns usually allow,” explains Jennifer Graessle, social media manager for the musical. Graessle believes the musical’s songs work well on TikTok because of their quick, quirky lyrics. The success on TikTok has helped drive 150 million streams for the cast recording, “and its popularity, both on TikTok and beyond, has had a residual effect on the show’s social media presence and ticket sales,” she says. It’s also been a savior for the show — even if it’s being kicked out of New York’s Winter Garden Theater, to be replaced by a revival of The Music Man. Initial reaction towards the production when it launched on Broadway in October 2018 was muted. “I think that word of mouth is what has saved the show from the initial critics of the show who are from an older generation and maybe just didn’t ‘get us’,” says Ryan.

 An alternative for bootlegs could be streaming services. There is currently one named Broadway HD. For $8,99 a month you can watch proshots of a limited collection of Broadway plays and musicals. Hopefully the streaming service will continue to broaden their collection and open up a whole new world for anyone at home or unable to travel to NYC.

 During the recent pandemic there have also been many livestreams of shows that aren’t currently running anymore, like the recent stream of David Bowie’s Lazarus, which was recorded live in 2016 and streamed earlier this month in honor of the icon’s birthday.

 So obviously, the theatre industry has been taking steps to broaden the representation of the performing arts on the internet. Despite the fact that we are far from truly accesible Broadway content i do believe that it will eventually evolve to be that. Theatre people are realizing that the public wants to pay for proshots or streams.

 I believe that accesibility will create more appreciation for the arts and therefore save Broadway.

Resources used: Research Reports | The Broadway League (6) Patti Lupone stops 'Gypsy' mid-show to yell at a photographer - YouTube (3) Patti Murin on Twitter: "No, because then Broadway will never come back" / Twitter Hamilton (musical) - Wikipedia Presley Ryan’s TikToks Have Made Beetlejuice Broadway’s Hottest Ticket | by Chris Stokel-Walker | FFWD (medium.com) BroadwayHD David Bowie's 'Lazarus': London Production Livestreams of Musical - Rolling Stone

[surveys-at-your-service]

Survey #320

we on a spree today!

Would you rather be twice as smart or twice as happy? Give me the happiness, please. What happened the last time you cried? I was having a PTSD episode. What happened the time in your life when you were the most nervous to do something? I think the most nervous I've ever been was in elementary school when I won the D.A.R.E. essay contest and had to read my paper in front of the whole 4th and 5th grade in the gym. There may be something else, though, there's just a LOT of instances where I've been an anxious mess. What was the greatest television show of all time? Meerkat Manor, man. I canNOT wait for it to resume, I believe this summer. What one thing would you be most disappointed if you never got to experience it? Maybe petting a meerkat, particularly a descendant of a Meerkat Manor character, Flower Whiskers in specific. I would cry, and that is a promise. I am just... so thankful for those little creatures. Because of them, I've met so many irreplacable friends and developed a hobby that was a way to dump my creativity into since I was what, 10 years old? What celebrity would you trade lives with? BITCH let me be Amy Nelson (Mark's gf) for OBVIOUS REASONS. Haha on a serious note though she is an INCREDIBLE person that I'm so glad Mark found. :'''') What story do your friends still give you crap about? Nothing, really. What is your weirdest dealbreaker? I'unno... define a "weird" dealbreaker. I find mine to be pretty reasonable. What’s the first thing you’d do if you were the opposite sex for one day? Well, look at myself in a mirror? See how I look. What is the weirdest quirk your family has? We have this thing where we say "I love you mostest period" at random to imply we love the other person more than they could love us, indisputably. How old is the last person you kissed on the cheek or lips? On the cheek, it was either my niece or nephew, who are 4 and 6. The person I last kissed on the lips is 22. Do you own a pair of skinny jeans? Not anymore, no. I don't wear jeans. Do you think you could live with your best friend? I would fuckin LOVE to. Do you have someone who you can be your complete self around? I'm most comfortable with myself around Sara. What were you doing when you found out Michael Jackson was dead? I was swimming in the pool while Dad was grilling lunch. The last person you kissed, was it a drunken or sober? Sober. Have you ever introduced yourself with a name other than your own? Online, I've introduced myself with my account name, but generally, I say I'm Brittany. Are any of your siblings married? I don't know about the half-sister I don't know, but two are married, and one is engaged. Do you use an umbrella when it rains? Not usually, no. When was the last time you had a lot of fun? A lot of fun? That's one damn good question. Probably not since I last hung out with Sara. The last time you cried, who was there to comfort you? I was alone. What was your most recent reason for smiling / laughing? I chuckled at something in a John Wolfe video. Are you attracted to the last person you talked to? Um, that would be my mother. So no. Do you like your middle name, or does it embarrass you? It's pretty, but I hate having it. It's one of the most common white chick middle names ever. Are your toenails painted? No; I don't paint my nails. When was the last time you couldn't stop laughing? Why? Probably a funny YT video, I dunno. Any ways in which you're very different from the person you love/like? We have some differing political views. Why did you first kiss the last person you kissed? The timing felt right and I love(d) her. Has anyone seen you kiss the last person you kissed? Yeah. Who was the last person’s voice you heard? Besides via YouTube, my mom's. Who do you get along with best in your family? Mom. Have you ever been kissed in a car? Yeah. Is there anyone in your life that knows right away something’s wrong with you? Oh, absolutely my mother. Has your phone ever gone off in the middle of a class at school? Oh god no, I'd die. The last time you washed your hair, did you use conditioner? I never do. It adds oil to your hair, and mine is naturally oily enough. Do you prefer light or dark jeans? DARK. Do you have an item of clothing that reminds you of someone? Tell me about it, and the person it reminds you of. I have a good handful of those. When you listen to music, do you generally sing along, or just listen? I just listen, usually. Do you have any of your exes as friends on Facebook? Yeah. Does more than one person like you? *shrug* You log into Facebook and see the red ‘1’ notification next to the message icon. Who do you want it to be? I fucking hate that my answer is "Jason." If your hair is long, would you ever think about having it cut short? Or, if it’s short, would you like to grow it long? As far as I'm concerned, my hair will never be long again. I love it so much more short. What if you were told that your life has to stay exactly as it is right now, and nothing will ever change? How would you feel about that? I'd... honestly probably kill myself. I don't know that with certainty, but yeah. I'd be pretty damn devastated. What’s the most expensive thing you own? Probably my snake. Name something you really can’t wait for? MAY!!!!!!! GIMME MY TATTOOOOOOOO!!!!! What do you want in your future? E.g marraige, kids… A great career, a healthy and permanent relationship, lots of pets, adventure, life satisfaction... Got any major celeb crushes? m a r k e d w a r d f i s c h b a c h Do you have any glow-in-the-dark items in your room? If so what? No. Have you ever stalked anybody? Yeesh, no. If you could be on any TV show, which would it be and why? I'll just hypothetically say I WANTED to be on television for this, because irl, I don't. Ummm. I guess That '70s Show, because I love the '70s, and it'd be so cool to have a big group of friends like that. What is your favorite brand of hairspray? I don't use hairspray. What is the last thing you tripped over? Our doorstep, lmao. Do you were glasses or contacts? If so what color are your frames/contacts? I wear black-rimmed glasses. Do you like stickers? If so what kinds do you like? Yeah. I used to collect them as a kid and put them all over my dresser. Do you like coloring? Yes. What is in your backyard? Some bushes and a shed. Maybe a tree. I've been out there like, once. Do you own a globe? No. What is your favorite wild cat? Snow leopards are the prettiest, imo. As animals in general, I find lions the most interesting. How many continents have you been to, and which ones? I've never left North America. How many continents has your best friend been to, and which ones? She hasn't, either. How many continents has your dad been to, and which ones? Same as above. Have you ever been so terrified that you felt paralyzed? Yep. What’s a place you have a strong emotional connection to? The community college I first went to. Particularly where Jason and I took his senior prom pictures. Who was the last relative you visited? Grammy, before she passed away. My uncle was with her, too. Do you ever wonder what kind of person you’d have turned out to be if a certain event never happened to you? Oh, certainly. I wonder all the time what would have happened if Jason didn't leave. I could still be horribly depressed, or dead, considering ultimately, the event led to me finding the help I so desperately needed. Or maybe I'd be perfectly happy with kids and know how to be an actual adult. I was only a teenager, and yet with him, I never felt more mature and just... capable. When you’re home alone, do you still shower with the bathroom door closed? Yes. Have you ever bought something really expensive and ended up returning it? I don't believe so. If you could have anyone’s singing voice, whose would you choose? Amy Lee is the brazenly obvious answer. What are your top 3 favorite genres of music? Metal, rock, indie. Same general category, I know, but it's almost all I listen to. Is there anything you’d like to say to your last ex? We're best friends, and I talk to her regularly, so I can tell her anything. Where did you buy your dishes from? No clue. We've had the same plates and bowls I think my entire life. Do you think Mars will be colonized in your lifetime? No. Have you ever been on a ship? Boats, yeah. I think ships are just the really big ones, right? Sails and all? Do you ever take intentional breaks from checking/posting on social media? No. Who was Van Halen’s better singer - David Lee Roth, or Sammy Hagar? David Lee Roth. He's an arrogant bastard, but boy can he sing. Which fictional character has the most memorable quotes? I don't know. Maybe the Joker. Do you watch The Office? Gossip Girl? Grey’s Anatomy? None of 'em. Name someone you know with a birthday in December: Sara! What color was the last vehicle you were in? White. What is your dad’s name? Kenneth, but he's just called "Ken." When was the last time you slept in a bed with someone else? Not since I last visited Sara. Do you have any indoor pets? Both my pets are indoors. How do you feel about teenagers claiming to be in love? It's entirely possible. I was; nobody could EVER convince me I wasn't. Are you dating anyone? If so, for how long? No. Do you know anyone with Down's Syndrome? I think so? What animal that is endangered is your favorite? Oh yikes, I don't know. I don't really know every endangered animal, y'know, and I love all animals SO much. Maybe elephants or tigers. How do you believe the Earth and life on it was created? I feel like there was SOME sort of ultimate intelligence that created the universe, but I don't know anything about it/him/her/whatever. Then I believe in evolution. Basically, some sort of conscious creation, and then let life do its thing. What’s your religion? I don't have one. You could say theism, but is that even a proper religion? Do you like your teeth? No. During my worst depression, I was very bad at taking care of them, and now they have a yellowish tint. Have you considered getting contacts that change your eyecolor? What color? Oh yes, I've wanted to have more sapphire blue eyes. Do you wish you lived somewhere else? Yes. Living in the suburbs just isn't my jam, but it works for right now. What’s the craziest color you’ve seen on a house? I think I've seen a pink house before? Don’t you hate the texture of lotion on your skin? Yes. What’s the prettiest cat you have seen? There's this brown British Longhair with beautiful green eyes that I adore on social media. Name's Smoothie. What is your favorite doughnut? Chocolate frosted or glazed. Do you have a hot tub? If so, where is it located? No. What is your favorite party game? Man, I don't even know popular party games, haha. Do you or your parents rake your yard? Neither of us do. No matter where we've lived, ever since Dad left, no one rakes. Do you buy drugstore make-up or high-end make-up? We always buy drugstore makeup. What’s the last good love story you read? I don't think I've read a love story since The Notebook. Do you own a lava lamp or disco ball? No, but I wish I had a lava lamp. When was the last time you went to the roller rink? It's been many years. Do you own a kaleidoscope? No. I did as a kid, though. Have you ever made an inspiration board for your room? No, but I absolutely plan to once I get a big enough board to hang on the wall, and my "office" is cleaned out. I want that room to be full of motivation. Who is the best-looking male celebrity? Take a wild guess. Where would you like to travel to next? Yellowstone. I want to spread Teddy's ashes there in an area with wolves to rest in his roots. Less importantly, I want to take looooooaaaaaaaddddddsssss of photographs. Where are three places you go to relax? Just my room, really. If you became famous, would you change your name to something exotic? No. What color is your favorite pair of shorts? I don't wear shorts, ever. List five items on your current wardrobe wish list. I've wanted a black, studded leather jacket since I was in high school. I also really want big, spiked leather boots, too. Then there's tons of band tees I want. Who makes great song covers on YouTube? JONATHAN YOUNG!!!!!!! GO!!!!!!!!! LISTEN TO HIM!!!!!!!!!!! Who is one of the best songwriters? Otep Shamaya. Painting or drawing? I strongly prefer drawing. Painting that shows brushstrokes or painting that looks like a photograph? The latter. The former can be quite stylistic, though. First thing you wash in the shower? My hair, but if you mean my actual body, my chest. Brown or white egg? I don't even know the flavor difference. Favorite time of year? October-December. Do you own a gun? I legally can't due to a suicidal history. Have you ever been in a castle? Excluding the Disney World castle, no. Are you a clingy person when it comes to relationships? I honestly am. Have you ever been bitten so hard that there teeth marks were there after? I mean, I've had hickeys before. Would you ever date a disabled person? (Be honest) Yes. If you found a baby randomly by itself what would you do? Call the cops and stay with it until they arrived. What is the most personal question you have ever been asked? I'd rather not repeat it. When was the last time you wished time would move faster? Literally every waking moment of my life. It's so sad, thinking about it. I'm just rushing my life away. Are there any owls in your room (as decor, of course)? No. If you’re not straight, who was the first person you came out to? Sara. Do you enjoy hearing birds chirp? I do. Have you ever hiked a mountain? No. Where did you meet your first crush? School. Who is your favorite little girl? My sweetheart niece. What is your favorite song by the last band you listened to? Oh boy, don't make me pick. Does your best friend have kids? No; she doesn't want any, either. Where did you go the last time you drove for longer than an hour? The beach, I think. If you were pregnant, would you want a boy or a girl? Hypothetically, a girl. How often do you get fountain drinks from a gas station? Rarely, but every now and again. Who is your favorite character in your favorite movie? Mufasa. What junk food can you never pass up? Donuts came to mind first. But I think that's because I'm craving donuts, haha. Have you ever had a UTI? Yeah, multiple. I don't drink nearly enough water. I've had one so bad my kidneys hurt like a bitch. What's the last color you dyed your hair? Red.

[straykidsupdate]

Stray Kids Make Their Mark In NYC With World Tour "District 9: Unlock"

Nestled underneath the majestic Madison Square Garden in New York City lies Hulu Theater — a smaller, more intimate performance venue where every seat is given a front-row view. It's here, on January 29, 2020, where Stray Kids began their journey across the USA for Stray Kids World Tour "District 9: Unlock."

Bright lights on the ceiling of the venue illuminated the crowd below, but it's nothing compared to the hundreds of Stray Kids lightsticks, coined najimbongs, that many in the audience held in their hands. Fans sang along to Stray Kids songs while they waited in anticipation for the 8 idols to take the stage.

A theatrical VCR introduced the start of the show, much to the audience's delight. Screams grew louder as their biases appeared on the screen, and peaked when the screens separated to reveal Stray Kids. They were there. They were real. Yes, it was absolutely happening.

If you thought this would be an easy-going, relaxing concert — do we have news for you! Energy levels began at 325% right off the bat as Stray Kids jumped into a remix of "District 9." And yes, the song can go harder than it already does. The momentum never stopped as they continue on with "Victory Song," "Question," a remix of "Rock," an epic dance break that made its last appearance at KCON LA, and the iconic "Side Effects." We have to commend these boys and their energy: there were no breaks in between these high-impact performances.

"We worked really hard to unlock this world tour for you," Changbin shared after the group made their cheery introductions to the crowd. It was no lie — just within eight months since Stray Kids held their last USA tour, the group has accomplished so much. Seeing their fans, known as Stay, as many times as they can is unmistakably one of their top priorities. How can you tell? If you've seen the way their eyes shine as they stare into the audience, you wouldn't doubt the love they have for Stay one bit.

To counter the tenacious impact of their first few stages, Stray Kids brought about a chiller, more laid-back atmosphere with "M.I.A." Though no choreography accompanied this performance, Felix surprised the crowd by dancing to "Renegade," a dance trend that went viral on video-based social networking app TikTok. This is one honorable mention from the show that will go down in Stray Kids history.

The first unit stage followed — Hyunjin, Lee Know, and Felix wowed the crowd with a deeply seductive performance to "Wow." Yes, abs were involved (thank you, Felix). The trio, known to fans as Danceracha, effortlessly dominated the stage with their presence. Leader Bang Chan later designated their performance as "sexy time," and we have yet to see the lie in that statement.

"Mixtape #4" was the next song off the setlist, and many were not prepared for the emotions that the song brought: with its lyrics, Stray Kids assure us to keep moving forward despite difficulties that we may face and to know that although we might feel alone, we never really are. During Felix's rap, Stay united as one as they shouted: "Stray Kids nine or none, we're gonna cross the finish line," though there were only eight standing on stage. The amount of love and adoration held in the venue visibly grew after that point.

It was time to "Get Cool," and what better way to fill the "Awkward Silence" than with the fun, cheeky performances that followed next? Members chased and tickled each other — youngest member I.N. being the most popular target — and interacted with the crowd during these upbeat, cheerful tracks. It's moments like these were the relationship between Stray Kids and Stay truly show their colors — not only through the laughs shared or cheers exchanged but also through the concerned gasps from the crowd as they watched Hyunjin fake-throw Seungmin into the audience. But hey, I'm sure Stay would have caught him if it really happened, right?

Let's take a moment to think about the VCR that played next. Picture this: Stray Kids take to the streets, wielding weapons and destroying virtual buildings in the most magnificent way possible. Is this symbolism for Stray Kids fighting the system, taking it into their own hands, and building a district of their own? Or is it purely just a group of eight boys wanting to destroy things for fun? Either way, we're all for Stray Kids world domination.

But on the real, the true message that Stray Kids wanted to share came to light in their performance of "Levanter." Stray Kids isn't just the name of their group; it's what they represent. Reflecting on the words both seen in the VCR and spoken by the members, there are lost kids all around the world just trying to find their footing. Together, step by step, they can pave a road to move forward. Here lies the strength echoed in the words, "Stray kids everywhere all around the world."

Sentimental moments were followed by soft ones as vocalists Seungmin and I.N. reappeared on stage in baby blue accented outfits, serenading the crowd during "My Universe." Just as Danceracha appeared for their unit stage earlier in the show, this was Vocalracha's time to shine. Special shoutout to Changbin for his rap verse appearance — though his vocals could potentially land him a spot in Vocalracha, don't you think?

The eight members continued their serene mood with a performance of "Third Eye," complete with the smooth use of chairs as props in their choreography. Chairs made the choreography more dynamic, playing with levels changes and strategic placements that brought the performance to the next level of satisfaction. Speaking of satisfying, Felix's deep-toned rap over nothing but a heavy, rhythmic bass drum is something we can listen to over and over again.

Stray Kids then transitioned into a straight line formation, basked in a cool light as a ballad accompaniment of "I Am You" played softly in the background. Experiencing this song without the choreography gives Stay a completely new perspective of the performance, filled with more emotion and connection than can be explained by words. The feelings intensified as Stay joined Stray Kids with the words "Stay together, you and I."

Stray Kids gave Stay the ultimate whiplash as the stage flipped into one of the most chaotically satisfying performances of the night: 3RACHA finally made their appearance. Basked in red lights (a warning, perhaps?) and dressed in leather detailed jackets, Bang Chan, Changbin, and Han lit the stage on fire with their performance of "We Go." Equal parts playful and chaotic, this unit, formed even before Stray Kids' official debut, really knows how to serve the heat - they're 3RACHA after all.

Following the wave of intensity that 3RACHA SUMMONED, the group reunited as eight on stage to perform a remix of "Road Not Taken" and an extended dance version of "My Pace." They take a moment afterwards to chat and interact with the audience. Han, being the overly excited delight that he is, fumbled with his words as he spoke. He laughed it off by apologizing to the translator, admitting he was too excited.

"I've never heard Stay scream this loud before," Bang Chan shared with the audience, "but I've never heard Felix scream so loud!" Felix laughed along with the entire venue in defeat — apparently, his excitement had gotten the better of him as well.

Changbin's comment felt all too real: "We want to be happy every day, but that's not always possible," he starts, "but I believe we can overcome these things and those hardships will pass like the wind." Bang Chan echoed his words, thanking Stay for their kind comments and for always staying by Stray Kids' side, which in turn started a chant of "we love you's" from the audience. The chant turned into a competition when Stray Kids started saying "we love Stay" in return. Who will win this exchange of love? We'll let you know (if it ever ends at all).

"Make sure to tie your shoelaces twice!" Bang Chan exclaimed as they jumped into "Double Knot." (Does he write his own material? Genius). Just like the beginning of the show, their energy stayed top tier as they lead into "Boxer" and their debut song "Hellevator." The stage production and background VCR for "Hellevator" was extremely impactful, using first-person point of view to transform the theater into a completely different world. It felt like a 3d virtual reality game where Stay accompanied Stray Kids on a journey through the fire and rubble, making their way out of this "Hellevator" together.

Stray Kids' performance to "Miroh" was taken to new levels with the introduction of drums, both as props and a backing beat to the hard-hitting instrumentals that ignite the chorus. An extended dance break made the stage even more exciting, but it also made us wonder how they're still jumping with so much energy. JYP, tell us your secrets, we beg of you.

And just when you thought this concert couldn't get any cuter, the next VCR introduced an interactive game. With games, came prizes — this one being Stray Kids returning to the stage for more performances. The premise of the game was simple: a Stray Kids song played while 8-bit icons appeared in beat at the bottom of the screen. When a clapping icon appeared, Stay had to clap. When a heart icon appeared, Stay had to form hearts over their heads. And, in true Stray Kids fashion, when a dab icon appeared, Stay had to hit the hardest dab of their life. "Get Cool" was the song that played during the practice round, with "Miroh" being the main stage of the game. Cameras panned through the audience, focusing on enthusiastic Stay in the crowd and screening them on the large LEDs on stage. It was a fun and entertaining way for Stay to participate in the show from their seats and also a clever way to get a whole theater to "dab to the left" at the same time. Several members mentioned they were watching the audience from backstage and called us "cute." If that's what it takes to make Stray Kids think we're cute, we might as well play this game all day, every day.

The final stage of the game was "unlocked," prompting Stray Kids to make their way back to NYC Stay, dressed in tour merch and bright blue accessories — Han wore a blue LA Dodgers cap (in NYC? We won't question it, we'll just let him do his thing.) while Lee Know had a soft blue sweater tied around his torso. The lyrics to "Grow Up" appeared in the background, inviting Stay to sing along. There was something soothing about singing the lyrics together, telling each other that you're doing fine, to just take your time, and that you can do it.

The inevitable finally arrived — final ments. It got real deep during Felix's last comments. "Having to express our love for one another — It gets me in the feels and I really want to do so much more for you guys. You're the reason why we are still Stray Kids. I really believe in Stay."

Changbin continued with his own set of sappy love-filled messages. "Now that I'm here with you, I'm so happy and excited. I shouldn't expect anything because you always surprise me! Thank you, this is for you." Changbin shared as he threw a cute finger heart to the crowd.

Before their last two stages, "YAYAYA" and a reprise of "Miroh," Bang Chan expressed his feelings. "As long as you guys invite us, we'll be glad to come back. You gave us the chance to come back here and we were so stoked! We'll give you guys the best 2020 ever, promise. It feels like Stay is a part of our family — it was your show and ours today."

Here's something important for Stay to remember as a takeaway from their show: You not only make Stray Kids stay — you make them grow. You make them succeed. You make them happy. This fan-idol relationship? It's a two way street. But it's a street that Stray Kids and Stay gravitate towards so effortlessly and make their home.

Thank you to SubKulture Entertainment and JYP Entertainment for the chance to experience this memorable night in New York City during Stray Kids World Tour 'District 9 : Unlock.' Make sure to keep supporting Stray Kids!

Don't miss your chance to see Stray Kids live on this tour! Tickets to upcoming locations are still available here: https://www.subkultureent.com/stray-kids

Source: KpopStarz

[recentanimenews]

FEATURE: The Top 10 Anime OPs of 2020 According to YOU!

  As we near the voting period for the Anime Awards where we will collectively determine the anime bests of the year 2020, the well-worn adage of “never skip the OP” comes to mind. I’m confident we’ll make the best choice, but there were many great OPs this year that won't make the cut to be highlighted in the nominations. So let’s take a look back at some of the year’s greatest not determined by our admittedly extremely qualified panel of judges, but by numbers and you, the fans.

  We’ve been posting up OPs on YouTube all year and have even made a playlist for 2020 — so what better way to unbiasedly look at the year's best than with the most important votes of all? Views. Below I’ve composed a Top 10 list of anime OPs featured on Crunchyroll Collection YouTube Channel by views at 30 days so as not to give an unfair advantage to OPs posted earlier in the year. This is not a perfect metric — as I’ll get into a bit later — but delivers either an interesting look at what people have been watching this year or, at the very least, some great new additions to your playlist on YouTube ...

  10. Black Clover - "Everlasting Shine" by TOMORROW X TOGETHER

    The collision of anime and K-pop will become a theme on this list, so it’s only natural that it should begin with the collaboration between TOMORROW X TOGETHER and the anime that has never missed an OP. Black Clover hit off its next slate of anime-original content under the supervision of Yuki Tabata with a killer opening highlighting the magic knight captains. "Everlasting Shine" cleared 800k views in its first month and joined the series’ killer playlist snuggly between songs by Snowman.

  9. HAIKYU!! TO THE TOP - "Phoenix" by BURNOUT SYNDROMES

    BURNOUT SYNDROMES brought in the new year with a bang, heralding the beginning of Haikyu’s spring tournament arc with yet another absolute banger of an OP to compete with their own iconic "Hikare Are" and "Fly High!" Phoenix rose to claim 900k views in 30 days, especially impressive since Karasuno had no highlight opponents facing them down in the first half of the new TO THE TOP season.

  8. Black Clover - "Stories" by Snowman

    Black Clovers 11th OP had a lot of weight to carry introducing the first post-manga content the anime had to offer and nailed it with a Snowman collaboration so good that the group not only got signed to return for OP 13, but Daisuke Sakuma voiced an anime-original character designed just for him in Episode 140. "Stories" came just under 1 million views in its first month at 950k, joining the pantheon of hit Black Clover OPs.

  7. Rent-a-Girlfriend - "Centimeter" by the peggies

    I don’t know about you, but ever since Sarazanmai’s spectacular ED "Stand by Me" featuring the peggies, I’ve been waiting for more anime music by the group, and it is absolutely not a surprise to see their next collaboration on this list. They delivered an absolutely addictive song which TMS elevated with some great dance moves and brilliant color work. A smart move, as we’ll see later in this list.

  No metric for measurement is perfect and "Centimeter" may be the best example of where this list sells an OP short. The song barely cleared 1 million views in its first month and placed the peggies in the Number 7 spot, however, the viewership on Rent-a-Girlfriend’s OP has only accelerated since, and it now sits comfortably at 6 million views, tying it for second place in overall viewership. Looking back again in another six months, it might even be Number 1 ...

  6. Black Clover - "Black Catcher" by Vickeblanka

    The original Black Clover OP artists returned to close out the anime’s last wildly-escalating manga-adapted arc with a killer OP that got served up twice. First in a dark black-and-white aesthetic going into the series climactic battle, then again in brilliant color after the conclusion of the epic conflict. 

  "Black Catcher" brought in 1.1 million views in what is an astonishing sweep in popular viewership for this list. Every OP Black Clover dropped this year made it into the top 10. A spectacular feat for a series that serves up a new one every cour.

  5. Re:ZERO Season 2 - "Realize" by Konomi Suzuki

    In a series so notorious for outright ignoring it’s OP and/or EDs for the majority of its episodes to pack in as much extra time as possible for Subaru’s continued suffering, it’s absolutely amazing how quality each of its OPs has been. "Realize" rapidly ascended to 1.5 million in its first month and has since aged like a fine wine as the events of the series slowly added context to many of the unusual and intriguing visuals therein.

  4. JUJUTSU KAISEN - "Kaikai Kitan" by Eve

    Launching one of the most anticipated new series in years and adapted by studio MAPPA, who has acted as the headline studio of 2020 with multiple hit productions, "Kaikai Kitan" was a shoo-in for this list. JUJUTSU KAISEN didn’t disappoint with a slick OP directed by one of the all-time animation greats and Naruto alumni Shingo Yamashita. "Kaikai Kitan" cleared 2 million in its first 30 days, and if anything, is only accelerating as the series’ sterling production continues to draw more fans. Also, TOHO released the video early on their own channel, where it’s performing even better.

  3. Boruto - "Hajimatteiku Takamatteiku" by Sambomaster

    This ED stands out as a love letter to Naruto in an anime that is essentially one big love letter to Naruto. Returning to the franchise after crafting what may have been the original Naruto’s most iconic OP, "Rhapsody of Youth," Sambomaster delivers yet another bop, while Pierrot seeded the visual sequence with references to many iconic Naruto OP visuals. "Hajimatteiku Takamatteiku" cleared 2 million views in its first month and was the perfect introduction for the series' slow build toward the manga’s Kara arc.

  2. The God of High School - "Contradiction" ft. Tyler Carter by KSUKE

      Subtlety is not The God of High School’s thing and "Contradiction" dropped like a punch in the face with some completely wild visuals and music. Techno doesn’t often make appearances in anime OPs, so a song composed by KSUKE featuring the American metalcore vocalist of Issues, Tyler Carter, was a galaxy away from ordinary even in a year where an avalanche of K-pop has been dropping into anime. The accompanying visuals could only be described as aggressive with fight scenes set under a color-swapped psychedelic blacklight style effect. 2.5 million viewers tuned in in the first month, and the song recently cleared 6 million to continue competing with Rent-a-Girlfriend's "Centimeter" from the same season.

  1. Keep Your Hands Off Eizouken! - "Easy Breezy" by chelmico

    It really couldn’t have been anyone else. Storyboarded by Masaaki Yuasa himself and animated with some surprisingly analog techniques by the talented French animator Abel Gongora, "Easy Breezy" cleared 3 million views in its first month and has breezed its way past 10 million over the course of 2020. This OP was easy, it was breezy, and it was super meme-y. The riffs of the girls of Keep Your Hands Off Eizouken! dancing to chelmico’s addicting tune were absolutely legion and for good reason, the loud colors, the simple style, and the Drake references were a perfect breeding ground for some truly inspired fan content, making it, in my opinion, the only choice for OP of the Year for 2020.

  Gotta say I’m overjoyed to see Eizouken at the top of the list even after spending half a year working that earworm out of my head, as well as so much love for Black Clover's OPs which have really been an achievement in quality even against Pierrot’s own storied legacy in Naruto and Bleach music.

  And don’t think I’m stopping here. While many fans studiously never skip the OP, I also never skip the ED ...

  What's your favorite OP from this list? Let us know in the comments. And tune in tomorrow for the top EDs of 2020 according to YouTube!

      Peter Fobian is an Associate Producer at Crunchyroll, writer for Anime Academy and Anime in America, and an editor at Anime Feminist. You can follow him on Twitter @PeterFobian.

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features! 

By: Peter Fobian

[phoebehalliwell]

Oh now I’m curious! What do you think kids between Leo and Paige would be like? (also what’s the name of that outtakes YouTube video because all of tumblrs links seem to be broke for me the last couple days :(

the raw footage is from a channel called the source of all bloopers (& yes their icon is the source)!

in regards to paige x leo i’m gonna start by linking my initial paige x leo post from the crackship era bc it really touches on the think i think would define their relationship which is just like undeniable goodness like a love for people and helping people and sort of viewing the world wide eyed and with optimism and then adding that to paige’s half whitelighter and leo’s full whitelighter like these kids are gonna be Whitelighter-y man. like i would say the most whitelighter-y out of anyone in the canon next gen would be mellie but lemme tell you these kids would leave her in the dust. i think they’d all also be really creative and clever and quite frankly stubborn as all shit. one of them would be really good at lying and the another one wouldn’t be to tell a lie to save their life. i’m not sure how many kids paige and leo would have because they were both raised as only children so i feel like that really lends itself to having only one child as they both had relatively good childhoods themselves But y’know it’s the whole charmed thing i feel like they would have a bigger family especially now that paige has sisters it’s not like she doesn’t like having sisters idrk how many um magical kids are like up for adoption bc i wouldn’t mind if leo and paige like adopted kids who were like lost or maybe kicked out of their homes because of magic like they could have raised tyler together why not okay here’s what i think i think if they raised tyler together i think piper x dan or whoever she ends up with would end up having kids relatively fast dan especially seems very pro-dad so i could see a baby showing up by season five meaning tyler would then have a bunch of “younger” siblings but idk i think he’s be hyped i think he would like hanging out with babies tho i think he’d be super anxious at first worried he’s accidentally going to torch the baby (bc theoretically in this au he didn’t bind his powers because he’s training to y’know be a witch) but like paige and leo use their whitelighter knowledge and support and you know blah blah blah the point is there’s sort of like a full family here i think roughly around season 8 ish they’d probably have a kid of their own bc like. idk piper and dan probably would already have their set of three idk what exactly phoebe would be doing in this timeline but like. this is a whole ass family and i think they’d be like hey lets y’know build our family i think the twinship came from henry’s side so i think their first kid would just be one daughter and tyler would be like. halfway through high school at this point (oh btw tyler turned 30 this year so um. yeah. that’s fuckin weird). and then whenever i’ve seen couples have another kid while the kids they already have are like in high school (which to be fair, is only twice), both times they didn’t have one kid but rather two so the new baby would be alone on their end of the number line and feel severed from their siblings, which like, if you can pull that off i totally agree with. so i think paige and leo would have another kid idk boy or girl but i’m going to say girl probably with a year and a half split between the two round out the total of kids to three, but there’s no power of three as y’know tyler while being a witch is not a member of the warren line and ik i always say it’s not about the biological aspect so much as it is the siblinghood but i think tyler still identifies as a michaels not as a warren like he says like here’s my mom and dad paige and leo but i think he still has a part of his identity rooted in his michaels last name. so. okay so the kids let’s do names tbh we could say samantha and christina and have them all be named after fathers i think paige is like 10x more likely to name her kids after her adopted parents as opposed to her biological ones But we never got her parents names so sam & chris it is i think sam technically being the eldest ssould have the most powers and since she’s like 75% whitelighter i think i’m going to be drawing from that power bank more than i will the powers of the warren line you know what we’ll give her the glamoring - omnilingualism - empathy - mimicry pathway and she can orb i think she’s set up to be a bleeding heart but i think she’d actually be stubborn as all shit and while she’d be kind she really isn’t well a bleeding heart she doesn’t really believe in gently hand holding and being the one to fix someone that’s not her vibe she doesn’t believe that’s her burden and she’s not big on second chances. however, given her power set, she can tell if someone’s truly remorseful and will forgive them, but if that’s not there, then they’re kicked to the curb man. christina i think well she can orb i think i’m going to give her the telekinetic powers so like the triple set of orb - tlk - tlkorb idk if she really needs another power i also like it because between the three siblings we can match tyler’s firepower to pipers, sam to phoebe, and this way christina would be like prue/paige