For this observer, it's too long (around 90 seconds longer than Air New Zealand's "Bare essentials", for example) and actually quite annoying. Also, I don't think it does a particularly good job of fulfilling its primary purpose, which is to explain the safety-related features of the plane. With all the pizzazz and robot rappers, passengers will end up watching the dancing and admiring the production values, without actually digesting the message. It tries so hard to entertain the many flyers who are over-familiar with safety videos that it fails to explain clearly and simply to new flyers what they can expect. To top it all, Virgin America will have to change various scenes in the next few months now that the Federal Aviation Administration has decided to allow the operation of electronic devices on planes from departure gate to landing gate.
Well, fine, but you have to admire their spunk.
The so-called "Starpath" is a type of solar-enhanced liquid and aggregate made by Pro-Teq Surfacing, a company headquartered southwest of London near the awesomely titled town of Staines-upon-Thames. It's in the prototype phase, with a test path running 460 feet in a Cambridge park called Christ's Pieces. (The British and their delightful names!) The material works by absorbing UV rays during the day and later releasing them as topaz light. In a weird feature, it can somehow adjust its brightness levels similar to the screen of an iPhone; the path gets dimmer on pitch-black nights "almost like it has a mind of its own," says Pro-Teq's owner, Hamish Scott.
Pro-Teq is hoping that governments will embrace its self-aware, supernatural-looking pathway for its energy-saving elements and the ease in which it goes down. The installation is fairly quick (the Cambridge job took about 4 hours), and because it's a resurfacing technique doesn't involve the burdensome disassembly and disposal of existing pathways. "The main bulk of the U.K. path network is tarmac, where perhaps it's coming toward the end of its useful life," says Pro-Teq pitchman Neil Blackmore in the below video. "We can rejuvenate it with our system, creating not only a practical but a decorative finish that's certainly with the Starpath also very, very unique."
From the company's press release:
This product has recently been sprayed onto the existing pathway that runs through Christ’s Pieces open space, Cambridge between the city centre and the Grafton Centre, and is used by pedestrians and cyclists during the day and night.
The Cambridge pathway measures 150 square metres, took only 30 minutes to spray the material on, and the surface was ready for use less than four hours after the job commenced. This short installation time allowed minimal disruption to the public.
Bike hike to Cambridge, anyone?
I found another batch of tapes including a mix tape I made in the WRHU two-track studio in May 1990. Yes, two-track: we recorded two audio tracks onto 1/4-inch tape at 7.5 inches per second (or 15 ips if we needed to do some music editing). We then cut the tapes with razor blades and spliced them together with splicing tape.
Eventually I graduated to the misnamed 4-track studio, which by then not only had a 4-track quarter inch deck but also a 1-inch, 16-track system that only the General Manager was allowed to play with.
Now that you know the technical limitations, listen to this teaser promo from May 1990. As a bonus, here is the Uh-Uh Oral Contraceptives spot that my predecessors created in 1984 or 1985.
On Thursday afternoon, Amazon delivered a USB cassette player. Yesterday I dug out an aircheck—a recording made in the radio station's master control room of what actually went over the air—from my broadcast on WRHU-FM exactly 23 years earlier.
Here is the 9pm newscast. Trippy. (And scarily similar to the newscast you might have heard last night.)
Just a brief note, when I should be sound asleep. I caught up on Aaron Sorkin's Newsroom tonight, and realized that the episode ended the story.
I could be wrong. I called my dad immediately, asking for some assurance that I wasn't insane about it ending all three* of the basic conflicts that make up the story, but he hadn't seen it yet, as he's two time zones west of me.
So, all you've got until I get his reflections, dear readers, is an amateur opinion. But as far as I can see, the story has nowhere to go after tonight.
I'll very likely address this later in the week with spoilers. For now, I welcome—I encourage—arguments against my hypothesis.
Tonight's show was the season finale. But for expletive's sake, was it also the series finale? Maybe my confusion was I didn't realize it was a season finale. So all the threads coming together seemed like the end to me—but I could be wrong.
My aforementioned dad reminds me that show business is best expressed thus:
Of course. Yet I like stories, and I like good writing, and I like getting carried away. From tonight's Newsroom, I worry that it's another four years until I get to watch Aaron Sorkin's writing again.
I would have hoped the business let the show go on for another season. Except...I think the story ended tonight. And no matter what Sorkin might do for a third season, it will have to be a different story. I'm sure the suits know that. They may not have a fiber of creativity to share amongst them, but they know damn well when the party's over.
All I can conclude from this is that Sorkin needs to write features. Not TV; features. He can't keep doing this to his fans in 20 episodes. (Disclosure: I really liked Studio 60. But he really ended it after one season. Is that what happened tonight?)
Will-Mac; Maggie-Jim; Everyone-Reese.
The friend who posted this roundup said simply, "Nerdgasm:"
Writing Systems of the World
By Maximilian Dörrbecker (Chumwa) (Own work) [GFDL, CC-BY-SA-3.0 or CC-BY-SA-2.5], via Wikimedia Commons
Take a look.
James Deen tries Google Glass and...well...don't play this at work:
That has to be one of the only porn trailers I've ever laughed through.
Via TPM Media, NASA has something to make you smile. Take a ride:
Via the Atlantic Cities blog, this is pretty awesome:
World domination is all well and good, but sometimes taking over a city is more than enough for one night. That's the feeling that Luke Costanza and Mackenzie Stutzman had a few years back while playing the board game Risk in Boston. So they sketched out a rough map of the metro area, split neighborhoods into six distinct regions, and laminated the pages. Then they invited over a few more friends to test it out — and discovered it was a rousing success.
"That's when it kind of clicked that we could maybe make these for other cities," says Costanza. "It's just tons of fun to be able to play this classic game in a place that you know."
That initial urge to conquer the Bay has since expanded into Havoc Boards: a series of 15 Risk-style games that Costanza and Stutzman are funding through a Kickstarter campaign. Instead of limiting the action to the global stage, Havoc Boards offer a variety of territories for conquest. To date they've created boards for ten cities —Boston, New York, Chicago, and Los Angeles among them — as well as two countries, a continent, a college campus, and even the solar system.
Check it out: