One of Chuck's greatest strengths as an animator was his ability to empathize with characters rather than treat them as paint-and-cel drawings. Especially Daffy; as he once said, Bugs is who we all hope to be, but Daffy is who we inevitably wind up being.
There's a tendency to trash Chuck as being overrated, usually as opposed to his colleague Bob Clampett, as a hatchet job in Salon did a while back. That's unfair to both men; Clampett and Tex Avery excelled in demolishing the Disney-established limitations of animation, while Jones used those limits while coloring intricately within the lines. While Jones could do wild gags too, he appreciated the little touches that would sell the cartoon: the look of horror as the Coyote realizes he's hovering over a cliff, or the expression of annoyance as Daffy realizes that Bugs has flummoxed Elmer again.
Chuck Jones brought an intelligence and discipline to cartoons, making their craziness even more enjoyable. There isn't a cartoon show on these days that doesn't bear some remnant of his influence. Frankly, I thought he'd outlive all of us.
Don't really know if Fred Quimby belongs here. He was the producer for MGM's cartoons -- and, if I recall Tex Avery's biography, he was even more humor-deficient than WB's Eddie Selzer. Anyway, he died in 1965.
Other recently-departed greats: Friz Freleng, Bill Hanna, Maurice Noble (Chuck's long-time co-director).
Hmm...Lex Luthor appears to have crossed over from an alternate reality. 'Course, the residency requirements in the Constitution don't cover that sort of thing.
I can think of one episode, "War of the Coprophages," where all of the wilder speculation was debunked right off the bat (excluding the metal-insect red herring). There was also the other one with the name I can't remember, where Queequeg got eaten by the giant alligator that was the real culprit.
Where the hell is Darin Morgan? Why the hell isn't somebody offering him tons of money to overcome his writer's block? He may be one of the finest writers in TV today, and he even has his "Clyde Bruckman" Emmy to prove it.
Probably because the Finder's still at 10.1.2, according to Show Info. Probably not worth the effort to swap the string resource (or somebody forgot to).
Do musicians and labels get paid for the MP3s I download? Yes. EMusic splits all of the profits from membership fees 50/50 with the label or artist. EMusic is a legitimate downloadable music service that compensates artists and labels for their work, without sacrificing convenience or low-cost.
A bit light on details, though, but I'd assume the artists get more than pressplay's paying.
Microsoft never owned 5% of Apple. They used to own some stock, long since sold, and certainly not enough to dictate company policy. You don't pay double for Macs, and there are plenty of developers.
(Apologies: This is actually a crosspost of something I wrote on Macslash. I didn't feel like rewriting it, since I'm already late for this discussion -- curses for sleeping in on Sunday morning!)
I can't believe Cringely's bought into this argument now. I expected better from him.
The whole Mac-on-x86 argument has many followers, with multiple -- and frequently contradictory -- goals. Cringely's is to get Microsoft a competitor on their home turf, one with the human-interface knowhow that Linux and other *nix versions don't have. He's a little better at strategizing than most, offering the idea of a strategic alliance with one of the surviving OEMs as a bulwark, but ultimately what he's suggesting is an altruistic gesture from Apple that offers little chance for success and huge odds for catastrophic failure.
Imagine if Steve Jobs were to announce tomorrow morning that OS X for PCs, developed in secret for months, will be available immediately at your nearby Apple Store or CompUSA. Never mind for now the enormous logistical problems of getting the installer to recognize the nearly infinite combinations of PC hardware out there, or the need to repartition your HD to accomodate an HFS+ partition; we'll say that the installer works like a dream. Here's this brand-new, gorgeous OS ready to go -- and there's not a single damn program that'll run on it.
That's because there's no developers' kit out there in the public. Oh, sure, Apple will port its developers' tools, but programmers need time to use it. (It could be that our mythical Stevenote will include a surprise announcement from Adobe that Photoshop 7 is ready to go for OS X-for-Intel, but considering Adobe's reticence in porting to Carbon, that strains credulity far past breaking. And considering that Adobe already has a perfectly good version of Photoshop running on Intel iron, it'll take quite a bit of arm-twisting from Steve to get them happy about more work.) Existing Cocoa apps will need to be recompiled; I'm not even sure how Carbon apps are supposed to move their legacy 680x0 and PowerPC code crossplatform. And good luck getting your Classic applications to run in emulation (and if you didn't create an HFS+ partition during the setup, you won't even be able to get their resource forks copied over.)
So this brand-new OS, which you paid good money for (and you're dreaming if you think Apple can afford to stick with $130 per license), is sitting on your computer without a thing to do. You have to reboot into Windows to get any work done, which makes you seriously wonder why you bothered in the first place. Meantime, the platform shift -- as Cringely says, Apple can't go into this move halfheartedly; OS X for Intel has to be first-class from the outset -- is having the effect of completely killing sales of Apple's remaining PowerPCs. New users are scared off by certain obsolescence; after all, not even Microsoft could keep two full-blown versions of the same OS running on different platforms at the same time, and Apple's clearly given up on the G4. Old-timers like me have no reason to repurchase the new Mac-compatible PCs and waste our existing investments. Plus, Apple's the only vendor of PowerPC-based desktop computers, and they're now battling Dell and Gateway on price; even assuming that they've been licensed as OEMs, they can undercut Apple's prices even more severely than the clones did.
So Apple, by shifting to x86, would have no legacy software, very few willing developers, an extremely dangerous and powerful competitor on Microsoft's home turf, none of the years of optimization that makes OS X run well on G4s, millions in lost sales for their own hardware, millions more lost dollars in R & D, an alienated fan base, and little hope of evading the implosion of Be and other would-be MS competitors. And they would do this -- why? The goodness of their hearts? Apple really has no reason to budge from PowerPC; the platform's still running, if not neck-and-neck with Intel and AMD, at least fast enough to give Mac users value for their money. Porting would not be Apple's best way of leveraging their comfortable niche market -- it would be a leap of desperation from a company that doesn't need to do it.
This looks like a classic case of "your mileage may vary." On my 350 mHz iMac, the wait cursor was only a problem when I was running OS X with 128 mb of RAM. With 320 mb, I can switch easily between a busy IE page and Mozilla, even with Watson and iTunes and a few other apps running at full speed. (In fact, I've been doing this all morning.)
Oh, and the Finder's still there. The Dock didn't replace it.
I was disappointed that I couldn't find Maria Cantwell's questions in the Q&A section. I'm curious about her actual opinions: she's a founding shareholder of RealNetworks, but Washington State's representatives seem duty-bound to defend MS's interests. What I wouldn't give for a public figure in this state with a backbone!
Bamboozled was actually shot on digital video, then transferred to traditional film stock. DV's gaining popularity as a cheap approach to indie films, though many film buffs hate the crappy resolution (which is a bit better than videotape blown up to film size).
Somehow, the thought of torture becoming a game show disturbed me. That feeling probably hasn't been helped by the intermittent discussions of how to make torture in the interrogation of suspected terrorists palatable to Americans.
Reminds me of a commercial Robin Williams did for Amnesty International -- "Welcome to Wheel of Misfortune!" I'm a little queasy at the idea of torture-for-ratings myself.
I found this site during a TMBG search. Fun stuff, but does anyone have rips of these songs (especially "Science Songs") at 44 kHz? I'd do it myself, if I could find them anywhere.
I'm sure that if Verisign wanted, for a few extra million they could have bought Tuvalu itself. It's only 26 sq km, but it'd be great for a Sealand-type tax haven.
Take this with a grain of salt. Andrew Orlowski is a long-time Mac user, some of whom (myself excluded) dislike the departures from the traditional Mac UI. If you're coming from a *nix background, you'll feel more comfortable, since you won't have to unlearn anything.
You could argue, based on "Clyde Bruckman's Final Repose" and "Humbug" (and possibly "The Host"), that the show's gone straight down since Darin Morgan left. Where are you, Eddie Van Blundht?
Philips has nothing to gain either by muddying their own CD Audio format or letting Universal corrupt it. Even if you're going to be cynical about capitalism, you can conclude that they make more money by selling CD-RW drives and collecting royalties from CD Audio than they would by supporting copy-protection, and losing both income streams.
Right -- and I say that's a perfectly valid reason to do it. I'd argue that if companies profit from the CD-R market (Philips, Roxio, Apple, etc.), they have a powerful voice in keeping the market open, and their income flowing (and their customers happy). It's a counter-argument to the music cartel's complaints about losing their business.
It's too awkward to fill up an MP3 player with Napster goodies. Even if you're persistent enough to get a collection of related MP3s, you're stuck with differing encoding rates, wildly-varying quality (including the occasional eardrum-shattering noise spike), and mismatched or absent ID3 tags. By integrating it with iTunes, Apple gives a subtle push toward getting users to rip their own CDs: you don't have to go legit, but you'll get better results if you do.
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One of Chuck's greatest strengths as an animator was his ability to empathize with characters rather than treat them as paint-and-cel drawings. Especially Daffy; as he once said, Bugs is who we all hope to be, but Daffy is who we inevitably wind up being.
There's a tendency to trash Chuck as being overrated, usually as opposed to his colleague Bob Clampett, as a hatchet job in Salon did a while back. That's unfair to both men; Clampett and Tex Avery excelled in demolishing the Disney-established limitations of animation, while Jones used those limits while coloring intricately within the lines. While Jones could do wild gags too, he appreciated the little touches that would sell the cartoon: the look of horror as the Coyote realizes he's hovering over a cliff, or the expression of annoyance as Daffy realizes that Bugs has flummoxed Elmer again.
Chuck Jones brought an intelligence and discipline to cartoons, making their craziness even more enjoyable. There isn't a cartoon show on these days that doesn't bear some remnant of his influence. Frankly, I thought he'd outlive all of us.
The bowling-pins sequence was actually from a Simpsons episode. Just to let you know how far and wide the Termite Terrace influence has spread.
Don't really know if Fred Quimby belongs here. He was the producer for MGM's cartoons -- and, if I recall Tex Avery's biography, he was even more humor-deficient than WB's Eddie Selzer. Anyway, he died in 1965.
Other recently-departed greats: Friz Freleng, Bill Hanna, Maurice Noble (Chuck's long-time co-director).
Hmm...Lex Luthor appears to have crossed over from an alternate reality. 'Course, the residency requirements in the Constitution don't cover that sort of thing.
I can think of one episode, "War of the Coprophages," where all of the wilder speculation was debunked right off the bat (excluding the metal-insect red herring). There was also the other one with the name I can't remember, where Queequeg got eaten by the giant alligator that was the real culprit.
Where the hell is Darin Morgan? Why the hell isn't somebody offering him tons of money to overcome his writer's block? He may be one of the finest writers in TV today, and he even has his "Clyde Bruckman" Emmy to prove it.
Probably because the Finder's still at 10.1.2, according to Show Info. Probably not worth the effort to swap the string resource (or somebody forgot to).
From the FAQ:
Do musicians and labels get paid for the MP3s I download?
Yes. EMusic splits all of the profits from membership fees 50/50 with the label or artist. EMusic is a legitimate downloadable music service that compensates artists and labels for their work, without sacrificing convenience or low-cost.
A bit light on details, though, but I'd assume the artists get more than pressplay's paying.
Sigh...
Microsoft never owned 5% of Apple. They used to own some stock, long since sold, and certainly not enough to dictate company policy. You don't pay double for Macs, and there are plenty of developers.
Amazing what gets a +2 Insightful these days.
(Apologies: This is actually a crosspost of something I wrote on Macslash. I didn't feel like rewriting it, since I'm already late for this discussion -- curses for sleeping in on Sunday morning!)
I can't believe Cringely's bought into this argument now. I expected better from him.
The whole Mac-on-x86 argument has many followers, with multiple -- and frequently contradictory -- goals. Cringely's is to get Microsoft a competitor on their home turf, one with the human-interface knowhow that Linux and other *nix versions don't have. He's a little better at strategizing than most, offering the idea of a strategic alliance with one of the surviving OEMs as a bulwark, but ultimately what he's suggesting is an altruistic gesture from Apple that offers little chance for success and huge odds for catastrophic failure.
Imagine if Steve Jobs were to announce tomorrow morning that OS X for PCs, developed in secret for months, will be available immediately at your nearby Apple Store or CompUSA. Never mind for now the enormous logistical problems of getting the installer to recognize the nearly infinite combinations of PC hardware out there, or the need to repartition your HD to accomodate an HFS+ partition; we'll say that the installer works like a dream. Here's this brand-new, gorgeous OS ready to go -- and there's not a single damn program that'll run on it.
That's because there's no developers' kit out there in the public. Oh, sure, Apple will port its developers' tools, but programmers need time to use it. (It could be that our mythical Stevenote will include a surprise announcement from Adobe that Photoshop 7 is ready to go for OS X-for-Intel, but considering Adobe's reticence in porting to Carbon, that strains credulity far past breaking. And considering that Adobe already has a perfectly good version of Photoshop running on Intel iron, it'll take quite a bit of arm-twisting from Steve to get them happy about more work.) Existing Cocoa apps will need to be recompiled; I'm not even sure how Carbon apps are supposed to move their legacy 680x0 and PowerPC code crossplatform. And good luck getting your Classic applications to run in emulation (and if you didn't create an HFS+ partition during the setup, you won't even be able to get their resource forks copied over.)
So this brand-new OS, which you paid good money for (and you're dreaming if you think Apple can afford to stick with $130 per license), is sitting on your computer without a thing to do. You have to reboot into Windows to get any work done, which makes you seriously wonder why you bothered in the first place. Meantime, the platform shift -- as Cringely says, Apple can't go into this move halfheartedly; OS X for Intel has to be first-class from the outset -- is having the effect of completely killing sales of Apple's remaining PowerPCs. New users are scared off by certain obsolescence; after all, not even Microsoft could keep two full-blown versions of the same OS running on different platforms at the same time, and Apple's clearly given up on the G4. Old-timers like me have no reason to repurchase the new Mac-compatible PCs and waste our existing investments. Plus, Apple's the only vendor of PowerPC-based desktop computers, and they're now battling Dell and Gateway on price; even assuming that they've been licensed as OEMs, they can undercut Apple's prices even more severely than the clones did.
So Apple, by shifting to x86, would have no legacy software, very few willing developers, an extremely dangerous and powerful competitor on Microsoft's home turf, none of the years of optimization that makes OS X run well on G4s, millions in lost sales for their own hardware, millions more lost dollars in R & D, an alienated fan base, and little hope of evading the implosion of Be and other would-be MS competitors. And they would do this -- why? The goodness of their hearts? Apple really has no reason to budge from PowerPC; the platform's still running, if not neck-and-neck with Intel and AMD, at least fast enough to give Mac users value for their money. Porting would not be Apple's best way of leveraging their comfortable niche market -- it would be a leap of desperation from a company that doesn't need to do it.
This looks like a classic case of "your mileage may vary." On my 350 mHz iMac, the wait cursor was only a problem when I was running OS X with 128 mb of RAM. With 320 mb, I can switch easily between a busy IE page and Mozilla, even with Watson and iTunes and a few other apps running at full speed. (In fact, I've been doing this all morning.)
Oh, and the Finder's still there. The Dock didn't replace it.
I was disappointed that I couldn't find Maria Cantwell's questions in the Q&A section. I'm curious about her actual opinions: she's a founding shareholder of RealNetworks, but Washington State's representatives seem duty-bound to defend MS's interests. What I wouldn't give for a public figure in this state with a backbone!
Bamboozled was actually shot on digital video, then transferred to traditional film stock. DV's gaining popularity as a cheap approach to indie films, though many film buffs hate the crappy resolution (which is a bit better than videotape blown up to film size).
Somehow, the thought of torture becoming a game show disturbed me. That feeling probably hasn't been helped by the intermittent discussions of how to make torture in the interrogation of suspected terrorists palatable to Americans.
Reminds me of a commercial Robin Williams did for Amnesty International -- "Welcome to Wheel of Misfortune!" I'm a little queasy at the idea of torture-for-ratings myself.
They've cancelled Family Guy several times now. It's back right now as a midseason replacement. As long as there are still shows, it'll survive.
I found this site during a TMBG search. Fun stuff, but does anyone have rips of these songs (especially "Science Songs") at 44 kHz? I'd do it myself, if I could find them anywhere.
God apparently prefers the older logo.
I'm sure that if Verisign wanted, for a few extra million they could have bought Tuvalu itself. It's only 26 sq km, but it'd be great for a Sealand-type tax haven.
You mean Godzilla, perhaps?
This is my own personal favorite metaphor for AOL vs. MS. Sic one monster on the other and pray there's something left of Tokyo when they're done.
Take this with a grain of salt. Andrew Orlowski is a long-time Mac user, some of whom (myself excluded) dislike the departures from the traditional Mac UI. If you're coming from a *nix background, you'll feel more comfortable, since you won't have to unlearn anything.
You could argue, based on "Clyde Bruckman's Final Repose" and "Humbug" (and possibly "The Host"), that the show's gone straight down since Darin Morgan left. Where are you, Eddie Van Blundht?
Oops. Their patent is expiring. Make that one income stream.
Philips has nothing to gain either by muddying their own CD Audio format or letting Universal corrupt it. Even if you're going to be cynical about capitalism, you can conclude that they make more money by selling CD-RW drives and collecting royalties from CD Audio than they would by supporting copy-protection, and losing both income streams.
Right -- and I say that's a perfectly valid reason to do it. I'd argue that if companies profit from the CD-R market (Philips, Roxio, Apple, etc.), they have a powerful voice in keeping the market open, and their income flowing (and their customers happy). It's a counter-argument to the music cartel's complaints about losing their business.
It's too awkward to fill up an MP3 player with Napster goodies. Even if you're persistent enough to get a collection of related MP3s, you're stuck with differing encoding rates, wildly-varying quality (including the occasional eardrum-shattering noise spike), and mismatched or absent ID3 tags. By integrating it with iTunes, Apple gives a subtle push toward getting users to rip their own CDs: you don't have to go legit, but you'll get better results if you do.