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Posted by Simon Sharwood

You can't fix what you can't see – especially when your workspace is a maelstrom

Who, Me?  Welcome to yet another Monday, and therefore to this week's edition of Who, Me? For those unfamiliar, it's The Register's reader-contributed column that shares your stories of workplace messes, and how you tried to clean them up without dirtying your career prospects.…

Discovering Prince, Ten Years Later

2026-Apr-20, Monday 00:00
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Posted by Anil Dash

It's been a decade since we lost Prince, and I wanted to take a moment to offer a look back at some of the pieces I've written over the years, and share some of the work I've done, and hopefully it will give you a chance to explore some aspect of his artistry or legacy that you haven't yet had a chance to discover!

Perhaps a good place to start: It's time to discover Prince — a set of starting points to look at Prince's musical catalog, with selected albums (with more than 40 albums to pick from, it can be overwhelming to know where to start!) and some playlists that I created specifically to help new fans find out exactly why we love his music so much.

Another comprehensive overview: Every video Prince ever made. I walked through all of the music videos Prince made over the four decades of his career, offering some info and context that might help you find which ones are most compelling (or weird!) and worth your time.

I've also gotten to guest on a number of podcasts and in other media over the years to discuss various aspects of Prince's career. Perhaps none was more exciting for me than talking about Prince's history of technological innovation for the official Prince podcast. Then, no less than the New York Times described me as a "Prince scholar" when it covered the discovery of the earliest known footage of Prince as a child. There are a bunch of other podcast appearances (see below) but these felt like the pinnacle of legitimacy for my career as a Prince fan.

Here on my site, there are some pieces I wrote to try to explain a few of Prince's masterworks. I wanted to give a sort of x-ray view into the larger cultural and even political context behind his choices when Prince created his best-known artistic expressions:

  • I Know Times Are Changing: This is the minute-by-minute story of how the song Purple Rain was created — covering everything from the background story of how conservative rock fans had hounded Prince's band off the stage at the turn of the 80s, to a glimpse into Prince's editing process where he turned a debut of his band into his signature song.
  • How Prince Won the Super Bowl: Many people know that Prince played the greatest Super Bowl halftime show of all time, but very few know that it wasn't just a scintillating musical performance. I get into why Prince didn't play his biggest hits like "When Doves Cry" and "Kiss", and how the show was a deeply personal statement on race, equity, and legacy.
  • Prince Interactive: Shortly after Prince's passing, I collaborated with several of the people who maintained Prince's (many!) websites over the years to help create the Prince Online Museum, an archive of many of Prince's digital works over the years. The earliest of these digital experiences is the Interactive CD-ROM which Prince released in 1994. I created a walkthrough video of the game which is shared as a resource on the site for those who've never gotten a chance to see the game in the years since its release.
  • Prince's Own Liner Notes On His Greatest Hits: I have worked hard to preserve Prince's extensive digital archives over the years, and this is one of the bits I'm most proud of. For the release of his first greatest hits set in 1993, Prince compiled a list of draft notes for his former manager Alan Leeds to use as the basis of the box set's liner notes. This draft was later posted on Prince's first website, and then quickly deleted — but not before I was able to archive a copy! So I was able to share the only surviving copy of Prince's first-person commentary on the biggest hits of his career, which is well worth a read.
  • Message From The Artist: This is another bit of digital archiving from Prince's original website of a letter that was briefly posted 30 years ago before being lost to history. In it, Prince explained the spiritual and artistic reasons behind his shocking decision to change his name to an unpronounceable symbol, and laid out the battle for ownership and control of his music which would come to define the second half of his career. The letter was quickly amended to be far less personal, and then deleted completely from Prince's website, but I was able to hold onto a copy that we can now read for ourselves.

Then, there are some fun artifacts and experiences about Prince that I found to be worth sharing, and other folks have found them to be pretty fun, too. One of my most favorite stories is The Purple Raincheck, about the time that Prince invited me to his house, but I couldn't go. And yet somehow, in true Prince fashion, I ended up with an even better story in the end anyway. If you've ever wanted to know what it's like to roll up to Prince's Oscars party, this is the one for you.

At the other end of the nerdy spectrum, there's this piece about my favorite floppy disc of all time, a rarity I was able to track down which contained the obscure font that Prince's team sent out to publications when he had changed his name to an unpronounceable symbol, so that they could properly render his trademark icon. Later, with the help of the brilliant minds at Adafruit, I was able to recover the data from the disc after almost three decades, through some vintage technology and a little bit of good luck.

For Minnesota Public Radio's The Current, we also dug into Prince's history as a computer nerd. On Switched on Pop, we dug into Why U Love 2 Listen 2 Prince, with an incredible audio breakdown showing how Prince influenced everybody — including a direct connection to the biggest album of all time.

Dig, if u will

We've been lucky to have a global community of Prince scholars that's formed over the years, which regularly hosts academic symposia, publishes papers and books, delivers remarkable talks on every aspect of Prince's work and the impact of his legacy, and in general uses his art as the starting point for some pretty extraordinary cultural exploration. One manifestation of that tendency to take his work seriously is the spreadsheet of Prince recordings, which is a fan-created work designed to provide a canonical reference for the thousands of compositions that Prince created over his career, unifying the conversations and discussions that people have. This is genuine nerd stuff!

And finally, one of the things I'm most proud of is this talk I delivered just a few weeks after Prince passed, in Minneapolis on what would have been his 58th birthday. It covers a really broad swath of Prince's influences and both his technical innovations and fierce battle for artistic independence. But it also dives into a lot of my background and my family's personal history, and connects it to a lot of themes of immigration and the systems that govern how this country moves. A decade on, I think some of these themes resonate more than ever, and if you're willing to set aside some time for it, I'd really love for more people to watch it, as I think it speaks to so many of the things I care most deeply about.

In all, after the initial grief and shock of his loss, I've been pleased to see Prince's legacy and impact grow. It's been wonderful to see so many people be surprised and delighted at all the different ways his work and innovative ideas remain relevant and resonant years and even decades after he created them. And I never get tired of people around the world sending me links or images of Prince or Prince-related items, saying "this reminded me of you!". Whether it's from old friends or people I've never met, it's something very special to be connected to others through the art and creativity of a fiercely independent spirit.

Above all else, Prince wanted to encourage people to create and be creative, to have mastery over their work and their lives, to be their true selves, and to be loving and compassionate towards others. Like everyone, he was flawed and complicated and weird and contradictory. But unlike anyone, he was able to create new worlds that millions of people got to live in inside their imaginations, and to fight impossible battles against all the odds and still somehow prevail.

That's still an inspiring example everyone can follow, no matter who your are, or how you create in the world. And best of all, Prince has created a perfect soundtrack to help you do it.

2: City of Death - iii

2026-Apr-19, Sunday 18:11
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Posted by Unknown

It’s set in Paris. It has to be set in Paris because it’s about the theft of the Mona Lisa: the theft of the Fighting Temeraire wouldn’t have had the same iconic punch.

Doctor Who wasn’t being shown in France at the time, so all those by-standers who shrug nonchalantly as the English guy in the long scarf runs past them are genuinely bemused Parisians. It would be an interesting fan project to track some of them down and find out if any of them knew what the hell was going on. Apparently, it was cheaper to film in Paris than to dress London streets to look Parisian.

Lalla Ward spent Destiny of the Daleks dressed in a feminised parody of Tom Baker’s outfit, but here she is wearing an English school uniform. For some reason. She says that it didn’t occur to her that some English gentlemen quite like looking at grown up ladies in school uniforms. 

Does Romana know what a school uniform is? Do they have uniforms or indeed schools on Gallifrey? Why does she think it particularly appropriate to Paris? Perhaps, like Ford Prefect, she thought it would be nicely inconspicuous?

With the exception of the cafe, all the interiors are filmed in London studios: so the main thing which the four days of filming produced was endless shots of the Doctor and Romana running through the streets. We see them on a metro with the Eiffel Tower visible through the window; sitting in a pavement cafe with Notre Dame behind them; and walking to and from the Louvre. You may find it all rather charming, or you may dismiss it as shameless padding. There is a full four minutes of Duggan tailing the Doctor and Romana in Episode Two. The filming is very pretty indeed.

Studio-bound stories can suffer from a lack of geography: we have no real sense of where the McVillains ship is in relation to Davros’s chamber, and the Doctor can move between them without seeming to pass through intermediate space. But in City of Death, no-one can say “back to the Louvre!” or “off to the Chateau!” without triggering an extended Paris street montage. One is tempted to wonder if this is intentional: a running gag.

In several of these scenes Romana and the Doctor seem to be holding hands -- not something the Doctor and the first Romana would have been likely to do. (It is also fairly hard to imagine Mary Tamm in a school uniform.) Tom Baker and Lalla Ward officially became an Item during the filming of this story. They got married a year later, although it sadly only lasted a couple of years. In the Whose Doctor Who? documentary, Tom remarked that one of the challenges about playing the Doctor (from a thespian point of view) is that the character doesn’t experience romantic emotions. In the present story, he says that the Countess is a good looking woman, "probably". But knowing what we know, it is very hard to avoid head canon-ing it into a honeymoon.

Or, at least, a dirty weekend.

I was today years old when I realised that Cité de la Mort and Cité de l'Amour is a play on words.



Shortly after City of Death, one of the Doctor Who fanzines published an interview with David Agnew. It was a not-very subtle in-joke: “Agnew” was a composite name attached to scripts that no-one person was prepared to take responsibility for. In this case it seems that David Fisher had submitted a kind-of follow up to Androids of Tara: a literary pastiche involving scams and detective work in 1920s Paris and Monte Carlo. But the script was deemed unworkable: for one thing, using time travel to cheat at roulette wasn't thought to be a quite suitable subject for what was ostensibly a children's TV show. So Graham Williams and Douglas Adams were locked in a room for a weekend and rewrote the story from scratch. (This kind of thing seemed to have happened to Douglas Adams rather frequently.) They excised the gambling and the historical setting, but held onto the idea of an alien having been fragmented through time.

We often talk about the special effects in Old Who having been “cobbled together”: but the same was often true of the scripts. There are a few places where you can see the joins. An artist in a cafe sketches Romana, with a broken clock where her face ought to be: he is never mentioned again. When the Count's scientist demonstrates his time machine, a chicken de-evolves into a Jaggarroth,  suggesting that life on earth evolved from Scaroth rather than merely haveing been kickstarted by his exploding spaceship. But we should not be too surprised when Old Who stories feel like concatenations of different scripts. We should rather be amazed that it hangs together as well as it does.

You can’t really expect Douglas Adams to be at his best, dosed up on coffee and whisky and writing to a hard deadline in the middle of the night: but there are recognisable flashes of his trademark wit. The Countess says that the more the Doctor pretends to be a fool, the more she will realise that he isn't; which recalls Trillians insight about Zaphod pretending to be stupid in order to look clever. The Doctor’s discussion with Duggan recalls Ford’s chat with the Vogon about shouting. 

--Are you just in it for the thumping

-- I'm in it mainly to protect the interests of the art dealers who employ me

-- I know, but mainly for the thumping.

And occasionally, you get pure quotable gobbets of the Book: 

— Where are we going?

— Are you speaking philosophically or geographically.

— Philosophically

— Then we’re going to lunch.

But rather too often, the dialogue is in the too-clever-by-half category 

--You should go into partnership with a glazier. You'd have a truly symbiotic working relationship.
--What?

--I'm just pointing out that you break a lot of glass.

It sounds a bit too much like a geeky schoolboy who thinks it's real clever to ask for a glass of H20 or put sodium chloride on his fish and chips. Who is, admittedly, the main target audience of the programme. 

A Gamble With Time would have been a fantastic title.


Bobby, I hardly Knew Ye

2026-Apr-19, Sunday 03:40
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Posted by John Q

Back in the 1980s, I was (among other things) a writer and singer of satirical folk songs. Going to the National Folk Festival in Canberra at Easter, I caught up with old friends and was reminded that I had produced a book of my songs. Returning home, I dug out a copy, and decided to scan it. You can download the result here (big file)


A lot of the songs were topical and are now very dated. But the theme of the title song is one that, sadly, never gets old (true also of the Irish original) Here it is.

As I was walking past the lodge, haroo, haroo
I saw a most peculiar dodge, haroo, haroo
Bob Hawke came by and I swear its true
He went in red and he came out blue
And the Liberals* didn’t know what to do
Oh, Bobby, I hardly knew you !

Where are the eyes that flashed with fire, haroo, haroo
Where’s the fear you once inspired, haroo, haroo
The bosses love you like a son,
You’ve got the greenies on the run
Flogging yellowcake by the ton
Oh, Bobby, I hardly knew you !

Where’s the workers leader now, haroo, haroo
Consensus is the sacred cow, haroo, haroo
Our wages cut and hours froze
Except for the doctors and such as those
I think that something’s on the nose
Oh, Bobby, I hardly knew you !

Where’s the voice that roared so loud, haroo, haroo
Wheres the left-wing stand so proud, haroo, haroo
You smile so sweet and you talk so glib
You duck and dodge and you fudge and fib
And you sound just like a bloody Lib
Oh, Bobby, I hardly knew you !

*For largely forgotten historical reasons, the main Australian conservative party calls itself “Liberal”

Happy Birthday Krissy

2026-Apr-18, Saturday 17:42
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Posted by John Scalzi

Shown here in the midst of prepping our taxes for our accountant, not this week but a couple of months ago, because she’s organized about that, and that is, in fact, one of the many, many things I love about her.

Krissy and I actually do a terrible job of being in the same place on her birthday. Last year she was in California visiting her family, and this year I am California for the LA Times Festival of Books, where I have a panel and at least two signings tomorrow. Last year I made up for my absence by getting her real estate. I think this year I am likely just to take her to dinner when I get back. You can’t do real estate every year.

Every year, however, I so incredibly grateful that this amazing person chooses to live her life with me, and I make it my business to let her know how much I love, value and respect her. She is the reason I get to live the life I do. That’s a pretty big deal.

If you wish to wish her happy birthday in the comments, that would be fabulous.

— JS

2: City of Death - II

2026-Apr-18, Saturday 17:10
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Posted by Unknown

Tom Chadbon may have been cast as Duggan because he looked a little like Tintin. But the Sixteen Million — and me — would have instantly identified him as the vet who Nerys Hughes nearly married in the Liver Birds. He’s a detective in a long raincoat who does the kinds of things that detectives in long raincoats might be expected to do, only slightly more so. He comfortably assumes that the Doctor and Romana are mad when they talk about being aliens; and is only mildly nonplussed when they whisk him back to the dawn of time. He is not so very far removed from Harry, or for that matter Steven and Ian. [1] 

But mainly, he punches people, breaks things, smashes windows, and generally acts like a hard-boiled detective. In an earlier draft, he was an explicit parody of Bulldog Drummond (“Pug Farquhasan”) a character no-one under fifty would be likely to have heard of.

He may be comic relief, but he isn’t all that funny. Chadbon does his best to say things like “I give up, you’re crazy” and “locked in a cellar with two raving lunatics” with nuance, but comes across as a decent actor doing the best he can with rather thin material. All the humour comes from the Doctor and Romana's reactions to him. Which are very funny indeed. 

"Why is it that every time I start to talk to someone, you knock him unconscious?” asks the Doctor. 

“If you do that one more time, I'm going to take very, very severe measures…" 

"Like what?" 

"I’m going to ask you not to.”

But in the end, the Earth is saved, and human history proceeds along its proper course, because Duggan does indeed thump Scaroth, terribly hard. The universe and everything may still be obscure, but that is the answer to life. If this is a shaggy dog story, that is the punch-line.


Much the same could be said of Count Scarlioni. He is an extreme incarnation of a suave James Bond villain: entitled, rich and utterly callous: not unlike the original incarnation of the Master. He orders the most terrible things to be done without stooping to vulgar anger. “My dear, it was not necessary for you to enter my house by...we could hardly call it stealth. You had only to knock on the door. I've been very anxious to renew our acquaintance.” Scarlioni believes himself to be the cleverest person in the room, and indeed, on the planet, which annoys the Doctor no end, because he actually is. 

Fans at the time thought that Season Seventeen was Far Too Silly; and that Tom Baker had undermined the show’s credibility by treating the Doctor as a comedic role. And certainly, as the season progresses, the Williams/Adams Doctor becomes very silly indeed. Critics have sometimes said that we are looking at a very good actor who stayed in one role for too long and stopped taking it seriously -- or else at a repressed comic genius trying to remake a venerable show in his own image. But in fact, the "silliness" seems to be an entirely valid take on who the Doctor is. 

Which is the question every incarnation of the programme has to find an answer for. 


The City of Death Doctor is cheeky, rather than silly: which is one of the reasons he was such a bad influence on so many of us cheeky school-boys. He refuses to answer questions, wilfully misinterprets what people say, refuses to take the gravest matters seriously, and tells brazen lies without bothering to sound plausible. 

“Who sent you?” asks the Countess. 

“Who sent me what?” he replies.

Alan Moore described the aforementioned DR and Quinch as essentially the Bash Street Kids with thermo nuclear capacity. It would be a stretch to say that the Doctor is a naughty schoolboy with a magic box, but Tom’s version sometimes has more in common with the Meddling Monk that he does with the William Hartnell or Jon Pertwee Doctors. He is not, of course, really irresponsible: we know that he will, in the end, prevent Scaroth from retrospectively destroying the human race. But he will do so from a position of ironic detachment. It isn’t quite wit, or silliness: it's flippancy. The Doctor assumes as if the joke has already been told because he knows that the universe is, on some level, funny. 


Episode One opens with the Doctor and Romana at the top of the Eiffel Tower, talking about nothing in particular. We are told that Lalla Ward and Tom Baker wrote the dialogue themselves; and it certainly sounds like something two very good actors might have created in improv.

—That bouquet.

—What Paris has, it has an ethos, a life. It has...

—A bouquet?

—A spirit all of its own. Like a wine, It has...

— A bouquet.

— It has a bouquet. Yes. Like a good wine

It’s funny; but it’s slightly smug. It sounds like Pooh and Piglet talking about Nothing; or perhaps like Estragon and Vladimir trying to pass the time. Our heroes may like and admire Paris; but they are looking down on it, literally and figuratively. 

And then, there is this:

—Shall we take the lift or fly?

— Let's not be ostentatious. [2]

— All right. Let's fly then.

— That would look silly. We'll take the lift.

This is not what the young people would call a lore dump. You don’t need to amend your Series Bibles:  “Time Lords have the ability to fly, but they don’t like to use it.” There is no need for conceptual fan-fic about the levitation device Romana found among the Doctor’s junk and has been itching to try out. You don't need to wonder if Time Lords are like gelflings, and that the Doctor can't fly because he's a boy. [3] But neither should it be treated as a joke or a giveaway line or an unforgivable ad lib which should be struck from the record. It is a vision of who the Doctor and Romana are in the moment that the line is spoken.

In the cafe, the Doctor tells Romana that they are perpetual outsiders because of how frequently they have travelled through time. The Doctor has never felt quite this alien before.

In the final episode, they leave Duggan at the Eiffel Tower. They say goodbye to him at top and about twenty seconds later they wave to him from the bottom.

So perhaps they do indeed fly.



[1] I assume that Big Finish have done a 26 disc boxed set in a time line where he travelled off with the the Doc and Romana in Episode Four.

[2] I am reminded of the story Tom tells about when he was briefly a novice in a monastery. There was a kind of spiritual exercise in which the young men suggested the names of saints for the other’s to think about: “Saint Francis” “Yes, let us all be gentle.” Brother Tom summonsed up the courage to say “Polycarp of Smyrna” and after an awkward pause the novice-master said “Let us not be obscure”.

[3] I read that there is a semi-canonical story in which it turns out that the Romana who appeared in the regeneration scene was not Romana at all, but an illusion created by the TARDIS. I hate, hate, hate, hate, hate, hate this kind of thing and also respect the hell out of the people who think them up.

The Big Idea: Mallory Kass

2026-Apr-17, Friday 15:49
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Posted by Athena Scalzi

The words “stress-free” and “wedding” aren’t seen in a sentence together unless the word “not” preludes them. The copious amount of stress and issues surrounding weddings fascinated author Mallory Kass, and she began to ask the question of why people do this to themselves. In her exploration of such answers, she wrote her newest rom-com novel, Save the Date. RSVP your invite to her Big Idea, and bring a plus one.

MALLORY KASS:

Why do weddings cause temporary insanity in otherwise rational people? Take a look around you. See that woman reading Middlemarch on the subway, the one who just smilingly offered her seat to an elderly man? In ten minutes, she’s going to text her sister, “Maddie’s dress is giving whore-of-honor instead of maid-of-honor.” Then there’s your affable co-worker, Brad, famous for his pivot tables. Over the weekend, he told his daughter that if he can’t invite all nineteen members of his pickleball league, he’s not paying for her wedding. 

What turns these celebrations of love into referendums on our taste, friendships, finances, and even our bodies? That’s one of the questions I wanted to explore in Save The Date, a romantic comedy-of-manners about a lavish wedding in Maine that goes very, very wrong. Because it’s not just the bride and groom whose emotions go haywire in the lead up to marital bliss. Guests participate in their own small but significant melodramas: they navigate the fraught politics of the plus-one, take desperate measures to squeeze into a special outfit, and scour social media to see if one’s ex might show up with a date. 

I’ve had plenty of opportunities to ponder these questions. I attended more than twenty weddings solo before I met my husband. There were times when I was literally the only single guest. Once, my friend’s very kind, very drunk mother shouted to a large crowd, “Who’s going to walk Mallory back to the hotel? She’s ALL ALONE!” 

I generally enjoyed myself at these events, especially while dancing with friends, shouting the lyrics to cheesy pop hits from our childhood. But at some point, the band would inevitably transition to a slow song and everyone would drift towards their dates like magnets, leaving me to scurry off the dance floor. That’s when I’d refill my drink and take refuge in a shadowy corner where I could observe the spectacle unnoticed. I’d clock the bride’s single sister’s slightly-too wide-smile and slightly-too-short dress. I’d eavesdrop on conversations criticizing the décor, the food, and the bridesmaids’ botched Botox. I’d note the panic on men’s faces as their girlfriends pronounced what they’d do differently at their receptions. And I’d wonder why weddings push everything to the limit, from our relationships to our budgets—and in the case of my breakdancing cousin-in-law—our kneecaps. 

And so, Save the Date was born—the product of my champagne-induced melancholia, fascination with social dynamics, and worshipful reverence for movies like My Best Friend’s Wedding, Father of the Bride, and Four Weddings and a Funeral. It follows the bride, Marigold, who’s not sure if she’s marrying Jonathan for love or to prove that she’s loveable; Natalie, her maid-of-honor, who’s terrified to admit to herself—let alone anyone else—that she still pines for Jonathan, and Marigold’s older sister Olivia, who’s always cleaned up Marigold’s messes and may have finally had enough this time.

The central challenge was making each woman’s observations feel honest and specific to them. I knew if I wasn’t careful, my complicated feelings about weddings would come through at a higher volume than those of my characters. I had to ensure my social anxiety didn’t seep into “It Girl” Marigold, or that my thoughts on the excesses of late-stage capitalism didn’t bias Olivia the corporate lawyer. (I channeled those into Olivia’s love interest, Zack.) And I had to let poor Natalie make mistakes that I (hope) I’d never make myself. 

Almost as difficult was painting an entertaining yet passably realistic portrait of Marigold’s rarefied world, one full of yachts I’ve never sailed on and private jets I’ve never boarded. Like Natalie, though, I spent hours tutoring the children of Manhattan’s .00001 percent in apartment buildings with heavier security than many embassies, and townhouses with multiple Picassos. I’ve witnessed how that level of wealth warps anyone’s conception of reality, which made it the perfect backdrop for the disastrous wedding that brings out the very best and the very worst in my characters. 

I’m not sure Save the Date fully answers the questions that inspired it, but I had a lot of fun examining them. And I hope you have a blast reading it whether you’re coupled-up, navigating the perils of online dating, stuck in a situationship, or relishing your singlehood. I’ve been there, and I’m raising a glass to you in solidarity! 


Save The Date: Amazon|Barnes and Noble|Bookshop|The Ripped Bodice

Author’s socials: Instagram

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Posted by Unknown

My latest collection of Serious Essays is now available as a 150 page PDF book.

It contains  -- 

The second part of my critique of CS Lewis's moral philosophy, this time diving deep into his theory of justice in The Humanitarian Theory of Punishment, Why I Am Not a Pacifist and Delinquent in the Snow. 

Plus:

What Did CS Lewis Make of Jesus Christ
The Cardinal Difficulty With Bulverism



Last Night in Decatur

2026-Apr-17, Friday 12:34
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Posted by John Scalzi

A couple of people showed up to see Brandon Sanderson and me have a chat.

Let’s be clear these are mostly Brandon’s folks; I was a value-add here. A very nice value add to be sure! But definitely the support act. Brandon and I have been pals for a couple of decades now and he used the event as an excuse to for us to catch up. I was happy to do it, because a) I wanted to catch up too, and b) I knew our chat would be a lot of fun. And it was a lot of fun, at least from my point of view, and it was especially delightful to see how Brandon connects with his fans. There’s a lot of mutual appreciation going on there.

Now Brandon’s off to JordanCon and I am off to Los Angeles, for the LA Times Festival of Books and then meetings next week. I’m glad we got the chance to catch up, in front of an audience and also away from it. Life keeps us all busy, clearly. You take your moments where you can get them.

— JS

2: City of Death (i)

2026-Apr-17, Friday 12:00
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Posted by Unknown

City of Death is very good.

Perhaps not quite as good as its reputation suggests: but definitely very good.

On October 20th 1979, sixteen million people watched the final instalment of the story. Sixteen million. In 2026, a drama series is doing pretty well if six million viewers switch on.

Times were, of course, different. There were three channels, and one of those showed nothing but cricket commentaries in Welsh. There was no internet, cinemas showed the same movie for weeks on end, and the pubs didn’t open until 5.30. Kids (I am told) were allowed to play marbles and hopscotch unsupervised on street corners, but they had to come home when it got dark. 

So there was not much to do at quarter past six on a Saturday apart from watch Doctor Who.

The autumn of 1979 was unusual even by the standards of the time. ITV had replaced its regular programming with a card which said “We are sorry that programmes have been interrupted: there is an industrial dispute.” In August one of the ITV unions had gone out on strike in support of a perfectly reasonable 25% pay rise. They went back to work at the end of October, whereupon some of the BBC unions downed tools over an equally reasonable dispute about who was responsible for making sure the big hand and the little hand were in the correct positions on the Play School clock. (Or, according to some sources, that the Crackerjack clock was set to precisely five to five.) This resulted in the cancellation of Shada. The Hitchhiker's Guide to the Galaxy includes a skit about the philosophers' guild threatening a walk-out over demarcation.

There is a widely dispersed oral tradition that a million people continued to watch ITV even when it wasn’t showing anything, and that there was a notable jump in the birth rate the following April.

But still, sixteen million is an awful lot of people. Enough to fill a line of double decker busses stretching from Lands End to John O’Groats. Or five entire Waleses.

What impression of Doctor Who did those sixteen million people come away with?



At the end of Episode One, the villainous Count Scarlioni pulls off a latex mask and reveals himself to be….a scaly green alien with one cyclopian eye.

This scene frequently turns up on compilation reels, alongside the Myrka and the Skarasen, as evidence of how primitive Old Who was and how right Michael Grade was to put it out of its misery. It’s actually not badly done: not as clever as the Sarah-Jane reveal in Android Invasion, but quite fun all the same. Julian Glover puts his hands to his actual face, we quickly cut to the mask being removed from what could well be a mannequin, and then back to Glover (or his stand-in) looking at his alien self in the mirror. The exact same shot is used when he unmasks again in Episode Four.

There is no particular reason for the Count to have pulled the mask off at that particular moment. Maybe, like the Slitheen, he just finds it uncomfortable to wear for prolonged periods. Julian Glover apparently did, hence the stand-in. [2]

But the cliffhanger does have a function. On the surface, Scarlioni is an urbane, Simon Templar bad guy: a witty, aristocratic art thief. But under the skin, he is decidedly a Doctor Who monster.

And that really tells us everything we need to know about City of Death. It appears to be a sit-com: a Wildean comedy of manners in which every line is a zinger or an aphorism. But under the bonnet, it is still very much a Doctor Who story.

Or, if you prefer: City of Death is a rather clever, high-concept science fiction romp which has cleverly disguised itself as a social comedy.


In the Hitchhikers Guide to the Galaxy, Douglas Adams reduced the meaning of life to a punchline. City of Death turns on a similar conceit. When we were very young, human existence seemed to acquire new meaning and significance once you knew that an inscrutable alien stand-in for the Deity had been playing Strauss to cave-men since before the Dawn of Time. But that idea had become familiar through over-use, Daniken’s space-gods and Arthur C Clark’s Monolith were now ripe for parody. 

Count Scarlioni is really Scaroth of the Jaggeroth. Zillions and zillions of years ago, he blew up his warp drive, inadvertently kicking off the chemical reaction which gave birth to Life on Earth. As a side effect, he was split into twelve “splinters” of himself, scattered across time, and they have been clandestinely influencing human civilisation ever since. He wants to get humans to the point where they can help him construct a Time Machine, go back to the Dawn of Time and prevent the accident, and therefore the human race, from ever occurring.

As science fiction shaggy dog stories go, it’s quite a strong one. Alan Moore’s alien frat-boys DR and Quinch messed around with human evolution because they wanted the continents to spell out a very rude word in their own language. It’s a long way from the Star Child and Thus Spake Zarathustra.

These kinds of wibbly wobbly timey wimey plots were pretty rare in classic Who. Fans at the time felt that the use of the TARDIS to ferry the Doctor back to the Renaissance and then to the Dawn of Time was a severe breach of narrative etiquette. And to be honest, it is rather lame, given that it is only two stories since the Doctor relinquished control of the TARDIS to the Randomiser.

“Oh but Andrew, surely the Doctor can switch the Randomiser on and off when he wants to?” Yes: yes I am sure he can. And there might very well have been a scene in which he said that in order to save humanity he would have to make himself vulnerable to the Black Guardian. But there isn't.

In Episode Three, Scarlioni rants: “Can you imagine how a man might feel who has caused the pyramids to be built, the heavens to be mapped, invented the first wheel, shown the true use of fire, brought up a whole race?” In becoming a God Like Alien and taking control of human development, he is entering a fairly crowded field. The Daemons and the Fendahl and Sutehk have all had their turn. The Doctor is not above a bit of benign uplifting himself. In Pirate Planet he was claiming to have taught Newton about gravity (with a g); and this week he claims to have encouraged Shakespeare to write Hamlet. I imagine there is some fan-fic, or possibly a collectible card-game, in which the Doctor and the GLAs are engaged in an eons-long four-dimensional chess game, one heaving the human race hither and the other hauling it thither. Perhaps so many of them are at it that in the end it hardly makes any difference and Homo Sapiens is in control of his own destiny. Or perhaps it’s a huge philosophical metaphor: what we think of as  “human history” is merely the intersection of the self-interested schemes of forces far beyond our comprehension -- in the same way that what we like to think of as our “selves” is really the locus for an infinite number of malicious or benevolent “memes”.

But that line of thinking ruins the cosmic joke. While we are watching this story, we have to pretend that Life on Earth really is and always has been an accidental by-product of Scaroth’s scheming. City of Death is only fun if we pretend that Image of the Fendahl never happened. The Doctor travels sideways through multiple iterations of a single idea, not forwards and backwards along a singular timeline that gradually reveals itself.


Laugh at Doctor Who’s production values if you like: I am sure many of the Sixteen Million did.  But I don't think this kind of thing would have worked if it had been mounted on a more impressive scale. In Episode Four, the Doctor, Romana and their new friend Duggan arrive on Primeval Earth, seconds before the Jaggeroth ship accidentally gives birth to life as we know it. This is big, cosmic, biblical stuff. The Jaggeroth says let there be radiation and behold there is radiation. And yet what we are looking at is three actors and a guy in a mask in front of a painted backdrop in a studio. A perfectly good painted back-drop: not something you would single out as a terrible example of Doctor Who’s make-do-and-mend ethos. The model space ship is really nice and you can’t see the wire when it takes off. But it’s artificial: we have to suspend our disbelief and eke out its imperfections with our mind. If it had been a full-on CGI set piece, which we could swear had been filmed on location in the Archaeozoic epoch [3] we could never have bought into the preposterousness of the premise.


1: Creature From the Pit got a perfectly responsible ten million viewers, so in fact we are talking about six million people who would rather have been watching Mind Your Language.

2: One Richard Sheeky apparently, who has an impressive CV including such roles as Man at Reunion, Man, Policeman, and Man (Uncredited).

A quiet patch ...

2026-Apr-17, Friday 10:33
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So, I had my second round of eye surgery, and it worked fine. I got a short distance lens, leaving me myopic, which was expected, and I've booked an opthalmology appointment for the earliest possible date post-surgery (in mid-May, the eye needs to settle for six weeks post-op). In the meantime, I'm without visual correction.

And guess what? My vision is changing. My left eye is increasingly myopic, to the point where it's now difficult to read on screen. (And I can barely read with my right eye at all, due to a retinal occlusion that covers about half the visual field.) For writing/editing I've blown up the text size to 250%, which is just tolerable but gives me a headache after a while: new prescription specs can't come soon enough.

NB: don't suggest half-assing corrective lenses using off-the-shelf stuff, my eyes are kinda complex and I'm not just myopic, there's other stuff going on there. Also, don't suggest dictation software: I use a complex vocabulary and punctuation that aren't a normal part of the use case the designers of such software anticipated, i.e. business correspondence. And absolutely don't suggest podcasts or text-to-speech software: I can't absorb information that way. I'm fed up with people trying to convince me to try something I've tried repeatedly to use (and that has failed for me) over the past 30 years: it's irritating, not helpful.

... In other news: despite the above I'm still plodding along at book 2 of the proposed duology (but making very slow progress because writing 1000 words in a day is the new writing 4500 words in a day). And I'll be at Satellite 9 in Glasgow next month, probably before I have new glasses, so if you see me and I fail to make eye contact across a room it's not you: I'm just blind as a bat.

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Posted by Lisa Herzog

What does it mean to be an academic in different parts of the world? What comes along as the same job description – a bundle of teaching, research, and impact tasks – varies enormously from place to place. Not only the financial conditions of universities differ, but also the social standing of researchers. This is probably what one needs to expect in a world shaped by inequalities along so many lines – geopolitical power, financial resources, cultural influence, race, gender etc. But arguably, there are additional problems within academia. For example, certain academic centers, typically situated in the Global North, dominate the discourse in whole fields, and the opportunities to gain international visibility are distributed very unevenly across countries. 

Last summer, I had written on this lack of Global Science Equity. It is problematic for at least two reasons. The first is moral: some of the global inequities are so stark that they stand in blatant contrast to the meritocratic rhetoric still widely used within academia. When being situated in favorable circumstances gets framed as “talent” or “excellence,” and being from a disadvantaged country as “lacking quality,” this is an unjust distortion of the facts, which leads to misguided distributions of respect and recognition across academics worldwide.* The second is epistemic: academic research works best if diverse perspectives and approaches are taken into account, not if there are steep status hierarchies and historically grown centres of gravity that determine what research gets done and under which paradigms. 

Of course, knowing that some things are unjust is not the same as knowing what would be ideally just – a point that Amartya Sen has famously made, arguing that we can move away from injustice even though we may not have a blueprint of a perfectly just world. Some inequalities in the situation of researchers across the globe are probably unavoidable, given the manifold differences between countries (if only something like being in the “wrong” time zone, which makes participation in online events difficult). Hence, the term “Global Science Equity” (instead of “Global Science Justice”) is meant as a way of capturing the imperative of reducing the most massive imbalances and unfair disadvantages and moving in the right direction. 

These are some of the considerations that led us – Amal Amin, Flavia Maximo, Darlene Demandante, and me – in 2025 to start a survey among researchers about their working conditions and experiences. We had hoped to complement some of the existing research on related topics, for example the reports by the Global Young Academy on the state of young scholars in different parts of the world (on Africa here; on Latin America and the Caribbean here), or various reports about the experiences of women in science (e.g. here) and in science organizations (e.g. recently here on national academies). 

 

Methodology

We had hoped to reach sufficient numbers of participants to do sophisticated statistical analyses about, say, how much travel money for international conferences doctoral students in Latin America vs. Sub-Saharan Africa get. Alas, the numbers of responses were not large enough for that level of detail, despite our efforts to circulate the survey on social media and in various science organizations (e.g. Women in Science Without Borders, Societies for Women in Philosophy, Global Young Academy, Rede Brasileira de Mulheres Cientistas). We were probably too ambitious, wanting to cover a broad variety of issues and leaving many open-ended questions in order to get a good grasp of the different social experiences. 

Nonetheless, we got 146 answers, enough for some statistics – and certainly for some qualitative analysis. We are extremely grateful to everyone who took the time to share their experiences. We here present some of the results, in full awareness that the sample is small and we thus cannot claim statistical significance.** We start with some descriptive statistics, and then move on to the more qualitative parts of the survey. Originally, the survey was in English; on request from colleagues in Brazil, Flavia produced a Brazilian translation as well. 

64 participants were from OECD countries and 82 from non-OECD countries. Female academics were 115 of the respondents, 29 were male and 2 identify with another gender; this probably reflects our dissemination efforts in several organizations for women researchers. Regarding race/ethnicity, 49 identify themselves as White; 26 as Black; 21 as Asian; 11 as from Middle East and North Africa; 10 as Latinx/Hispanic and 5 as multiracial; 17 persons did not declare their race/ethnicity. 

Some quantitative data

a) Do you work in the country in which you grew up?

 

 

The data show striking asymmetry between OECD and non-OECD respondents regarding geographic mobility. While OECD-based researchers are almost evenly split between those who remained in their country of origin (31) and those who did not (32), non-OECD respondents show a strong tendency toward working in their country of origin (75 out of 82). This pattern – if representative – suggests that geographic mobility in academic careers might operate differently across geopolitical contexts. In OECD systems, international mobility is both structurally incentivized and often institutionally required for career advancement. In non-OECD contexts, by contrast, the concentration of researchers working in their countries of origin may reflect constrained mobility for economic reasons.

This economic interpretation suggests itself because in our data, mobility resources were sharply unequal. Among parsable answers to our question about annual travel funding, non-OECD respondents cluster at $0, while OECD respondents cluster around $2,000, reaching up to $6,000. 44% of Non-OECD participants reported having no funding at all for traveling. This is an inequality with direct implications for participation in international networks, invitations, and collaboration ecosystems that shape grant and publishing outcomes.

These outcomes are also shaped by language barriers. English dominance is system-wide, with most participants reporting that they are expected to publish in English. But compliance burdens differ: overall, Non-OECD respondents are more likely to report needing language editing before submission, which takes time and money – though of course, there are also Non-OECD countries, e.g. India, in which English is the dominant academic language. Non-OECD respondents more frequently face the extra step of language editing, and also show a higher overall rate of personal payments for such language services. Some, however, expressed the hope that with affordable AI language editing options, these unequal burdens may become smaller. 

 

b) Have you had career interruptions resulting from family duties (e.g. parental leave) – if yes, please specify brief



Across the full sample, 60 respondents (41%) reported career interruptions due to family duties, against 80 who did not; 6 for reasons that they did not want to disclose. The majority career interruptions were with female academics (52) and mostly due to maternity leave (but note that we had a high number of female respondents, as reported above). The OECD subsample shows a near-equal distribution (32 yes, 30 no), while non-OECD respondents report fewer interruptions in relative terms (28 yes, 50 no). 

These figures must be read with caution, because lower reported interruption rates among non-OECD respondents do not necessarily indicate more favorable conditions. They may, instead, reflect the absence of institutional policies such as parental leave policies, which means that the data – if representative – risk underrepresenting the actual burden of care (and note that we were not able to control for rates of parenthood among researchers at all, another potentially confounding factor). Yet another factor might be different cultural understandings of parenthood (and in particular motherhood) and the social acceptability and affordability of outsourcing care work. More research is needed to illuminate these differences. 

 

c) Do you have to take on other jobs, in addition to your “day job” at a research institution or university, in order to make ends meet?

That 60 out of 146 respondents (41%) reported needing supplementary employment to sustain themselves financially represents a significant indicator of structural precarity within academia. The disproportion between OECD (23 yes) and non-OECD (37 yes) contexts is notable, though not as sharp as might be expected. This means that precarity, while more pronounced outside OECD countries, is by no means absent within them, especially in earlier career stages. These findings complicate the assumption that academic labor would always mean stable professional employment (maybe especially for women). Labour precarity appears across different career levels, but especially among doctoral students, independent scholars, and researchers without permanent contracts. 

Another datapoint may be related to the need to earn an additional income. In our responses, OECD affiliation correlates with earlier academic timing in this dataset: the clearest marker is age at PhD completion (median 30 in OECD countries vs. 34 in Non-OECD countries ), coupled with much younger OECD doctoral/postdoctoral ages. This points to different structurings of academic pathways, with people from non-OECD countries taking longer to get academic degrees and academic positions, maybe because of the need to also pursue other endeavors to maintain oneself, in academic systems with less structural funding for young researchers. 

 

Some qualitative data

On many other issues, we asked qualitative questions. Let us emphasize once more that we cannot claim statistical representativeness here (nor, obviously, verify the claims made by participants). 

Concerning experiences of discrimination, there were many entries in which women or people of color reported being a minority in their field, which made them feel not at home at academic events, but there were also reports of direct discrimination by academic managers, and of sexual harassment of the form that one can, sadly, call “classic.” One participant claimed to experience discrimination as a man because women were given preference in his field; while we cannot judge this specific case, it raises the problem of how to morally and practically deal with the disappointment of men in previously male-dominated fields that are being opened up to women (or along other lines), and about how to win them as allies in the fight against discrimination. One person pointed out that when “voices from the South” are invited, those might exclusively be those of Indigenous peoples and local communities (which are undeniably also of great importance), not those of scholars from these countries. 

When it comes to journals, many respondents focused on the theme of substance over formalities. For example, papers should not be rejected (by editors or reviewers) because of small linguistic issues that are difficult to avoid for non-native speakers; instead, there would, ideally, be help with linguistic issues at the stage of acceptance. 

Many respondents also reacted to the question about “token representation”: researchers from disadvantaged groups being included because this makes projects look better, without being taken fully seriously. At least 30 provided answers that directly reported such experiences. Some expressed great anger about it, others saw it as an unavoidable consequence of affirmative action programs and were therefore more ambivalent about it. 

Overall, a key insight from these qualitative data is that inequity in science is multidimensional, runs across different dimensions, and sometimes takes unexpected forms. For example, when it comes to languages, researchers from English-speaking non-OECD countries may experience fewer problems than those from non-English-speaking OECD countries. There are invisible obstacles such as chronic illnesses which lead to very different forms of exclusion, than, say, being visibly radicalized. For some scholars, time zones are a great challenge when it comes to international academic events or digital calls, for others, different academic calendars, for some, both.

To give some concrete examples: Young scholars at conferences on other continents may suddenly find themselves in unsafe situations because their phones do not work there and they cannot afford to pay for phone data, and they get lost on the way back from the conference dinner because no printed maps were provided. A form of exclusion that is probably relatively new is that international scholars from certain countries who work in the US cannot travel outside the country because they fear that they might not be allowed back in. 

Let us also note that several participants pointed out that we should have paid more attention to class as a category of inequity, e.g. when researchers come from very high class-positions in non-OECDs countries compared to people from disadvantaged class backgrounds in OECD countries – a point very well taken. 

 

Towards global science equity

One respondent from the Global North wrote: “I would like […] to hear voices from the Global South telling rich universities from the Global North what we can do that will be useful to and welcomed by them. I don’t know whether the voices are speaking and I’m not hearing them, but I think a lot of Global North academics would be enthusiastic about being involved with initiatives that help to equalise things, but nobody has any idea what to do – and they don’t want to make suggestions that might come across as (or indeed unwittingly be) patronising or racist”  

By combining the responses to the open-ended questions in our survey regarding best practices in international projects, cooperations, or scientific associations, we can provide some answers to this question. 

Diversity as a default aspect of science

Whether in terms of gender, race/ethnicity, class, age, nationality, language, or models of scientific knowledge, diversity was seen by many respondents as a key element for a global science equity. Inclusiveness along all these dimensions should not be something one has to argue for and justify, but be accepted as a mandatory dimension of academic work, whether it is in organizing conferences, running research teams, or reviewing for and editing journals. Participants highlighted the need for more diverse collaborations, respecting local realities, with knowledge transfer between different countries.

Including early-career academic researchers was repeatedly suggested as a way to reduce power imbalances: offering mentorship, funding and training opportunities, and thinking about capacity building as a core goal.  Also, providing support for childcare was often raised, as well as sensitivity to the needs of people with special medical needs or disabilities.

Simple suggestions that can be easily adopted into daily academic life were mentioned, such as more flexibility when it comes to the use of English; providing translation and language editing support or even allow submission in other languages, with the possibility of a later translation; awareness of the academic calendar in the Global South when scheduling conferences or meetings; moving meeting hours around to make it easier for participants in different time zones.

Quite some participants who had either little travel funds, or care responsibilities, or both, pointed out the advantages of online conferences and regretted the fact that after the end of the Covid-Pandemic, far fewer opportunities for online participation in international academic events remained intact. This raises the question of how in-person conferences might do more to keep open channels for those who cannot easily attend, whether as part of conferences or in the form of, say, digital reading groups or seminar series.  

 

Geopolitical redistribution of funding 

The unequal distribution of research, publication, and conference participation funds is one of the driving factors of the lack of Global Science Equity. As a solution, respondents suggested specific funds for including researchers from poorer countries in international events; hybrid options in conferences for participants for whom international travel is difficult; conference or membership fees that are differentiated according to GDP of the country of residence; or research funding opportunities where emerging countries compete with each other, not with better-resourced countries from the Global North. Transparent funding structures, with clear guidelines on fund allocation, disbursement, and reimbursement to avoid inequities or delays were also pointed out as best practices.

In addition to the lack of visibility for researchers from the Global South, who cannot obtain funding for publications, conferences, or projects, the concentration of resources in countries of the Global North has been experienced by some respondents as a form of control over scientific knowledge. One participant wrote that “collaborations should be equal, not the one who brings the money calls the shots. They can have the money as bait but they cannot do the research without the local partner, especially in the Global South.” Another respondent pointed out that countries of the Global South often continue to be treated as case studies for research from countries of the Global North, without being granted a leading role in theoretical production.

 

Horizontal academic relationships

Many respondents called for fair and transparent procedures in all aspects of scientific knowledge production. Some expressed the hope that it would be possible to achieve more equity when younger researchers get more of a say. As one participant wrote: “I think getting younger generations more involved is key to changes – and part of the struggles as scientific associations are often dominated by older academics with rather stubborn views”.

The generational difference in positions of power (often intersecting with a lack of female representation) has often been identified as problematic. Therefore, a broader distribution of decision-making power is essential for working towards more equity in science, with strategies that allow all researchers, and not only those with insider knowledge or a powerful mentor at their side, to participate equally. Such strategies include simplifying bureaucratic processes for accessing resources; standardizing reporting formats; using open science practices, sharing data, protocols, and outcomes for  the benefit of all partners, and eliminating the “friend-factor” in scientific relationships. An implicit theme in many answers was the endogamy of access to funds, networks, and visibility among researchers from the same institutions and the same countries, typically higher GDP and situated in the Global North. As long as the right to define what counts as “good science” remains exclusively in these circles, without attention to different local circumstances and different epistemic opportunities, the inequities of the global science landscape will be difficult to overcome. 

One final thought: A structural problem that might arise from the multiplicity of discriminatory experiences that we have described is that many academics may feel disadvantaged one way or another. While true in some sense, this may make us overlook the really drastic differences on a global level that matter far more, morally speaking. It reinforces an attention economy that is all too often dominated by old path dependencies (what were the “leading” centers in a certain field half a century ago?). The practical steps described above may help, in concrete ways, to overcome these unjust and epistemically harmful hierarchies, and to move towards more Global Science Equity.

 

This post has been written by Flavia Souza Maximo and Lisa Herzog. We would like to thank Amal Amin and Darlene Demandante for their support in the phase of setting up and distributing the survey, and Paulo Savaget for his help in analysing the data and commenting on a draft version. AI was used for summarizing some of the data, with manual doublechecking. All remaining errors are ore own. 

 

—————- 

 * If you’re skeptical of this claim, have a look at the distribution of Nobel prizes and other international science prices – looking at those, one might think that vast parts of the world do not even have academic research… 

 

 ** Also, it may be the case that our survey has been filled in mostly by people who feel that they have been treated inequitably in some way or another by the academic system. We had been open about the framing, which is preferable in terms of research ethics, but this might have biased the sample by not appealing to those think that there are no issues with equity in the scientific system. 

 

The Power of Possibility

2026-Apr-16, Thursday 00:00
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Posted by Anil Dash

It’s rare that you get to see work that directly helps those who most deserve it, but I want to tell you about the opportunity we so seldom get to actually contribute in a way that we know will have real impact.

I’ve been on the board of the Lower Eastside Girls Club for about a decade, getting a front row seat to seeing what a truly community-focused and effective organization can do for those in need when things are done the right way. This is the model of what we want our public institutions to be — laser-focused on the needs of its members, extremely ambitious in its goals, and measurably effective in its outcomes.

I’m asking you to support the Girls Club in one of two ways:

  • You can donate directly to support the work that the Girls Club does (If you know what a donor-advised fund is — now’s your chance to use it!)
  • Or if you’re in NYC on May 7, join us at Webster Hall for our incredible 30th Anniversary Gala where we are going to throw down

Actually changing lives

The Girls Club serves girls who are amongst the most in-need in all of New York City, and boosts important measures like graduation rates to levels 15% higher than the district average. The way that the club does it is by providing year-round programming in the arts, STEM, civic engagement, leadership, wellness, college and career pathways, and much more — including a deep connection to a sense of community. All of this happens in a facility that is nothing short of magical, where there’s a green roof, a full recording studio, a commercial-grade kitchen, a wonderful crafting room, and even an actual planetarium. And all of these resources are made available to the girls entirely for free.

The programs and support that the team provide to the girls work. It changes their lives. I know this because I’ve seen it. Now that the club has been around for a generation, we’ve seen girls grow up to become incredible students, leaders in the community, entrepreneurs, activists, artists, and even a new generation of mentors in the Girls Club itself.

Then, the backlash against DEI and this kind of community support threatened the very survival of the Girls Club.

Even though the club has always had its share of ups and downs, there had almost never been as much of a concerted attack on its foundations until the dark times of this last year. It’s taken a toll on the club and its staff, and threatened to put the programming and support for the girls at risk. After a decade on the board, I stepped up to become chair of the board to try to help.

Because the truth is, the team at the club does what works: specific, local action, that considers individuals as whole humans, and tends to their needs in a complete way. We’ve given out tens of thousands of free meals to the community as needed ever since COVID began, because people can’t learn when they are hungry. We’ve added multi-generational classes on things like wellness, because it takes the support of entire families to keep kids on the right track for their education, or to support them making big, ambitious choices to change their lives for the better. And of course there is support for every form of creativity from technology to sewing to DJing to, yes, exploring the stars in the planetarium. Because, for too long, those were areas of imagination that didn’t always get presented as options on Avenue D.

Here’s what I can promise you: every single penny that you give to support this organization will be used incredibly efficiently. The staff of the organization show up every single day to fight for these girls, and their families, and this community. I can personally attest to how accountable and effective their work is. If you are able to donate, I’ll give you a personal tour the next time you’re on the Lower Eastside, and take you through the amazing facility so that you can see for yourself the impact that you’ll be having on the future of our city, and these girls.

There’s always room for joy

Years ago, not long after I’d first joined the board of the Girls Club, we were trying to capture the spirit of what makes this place so special. It’s hard to articulate the energy, the brilliance, the optimism and spirit that the girls bring to the place through their sheer creativity and engagement. But eventually we settled on a few words that ended up becoming the slogan for the entire organization:

Joy. Power. Possibility.

I come back to those words a lot, even when things are hard, because I see it embodied in the work that has been done as alumni of the Girls Club have gone out into the world as young women who are now leaders and innovators and fearless voices across the city and across the country. We’re going to need your help to make sure we’re able to ensure that another generation of vulnerable kids get that same chance.

And the best part is that you can really experience the “joy” part of that motto if you join us at the Gala. Our annual fundraisers are not the usual stuffy nonprofit affairs. We’ve got a few tickets left for Webster Hall on May 7, where we’re honoring actress, writer, director, producer, activist and Lower Eastside legend Natasha Lyonne, H&M America’s Head of Inclusion and Diversity Donna Dozier Gordon, and our very own Lower Eastside Girls Club emerita Miladys Ramirez. Expect signature cocktails, an unforgettable dinner, and a dance floor you won't want to leave! I hope to see you there, or you can just give what you can and be there in spirit.

The Big Idea: Cameron Johnston

2026-Apr-16, Thursday 15:00
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Posted by Athena Scalzi

The Scientific Method is immensely helpful, but so is literal magic. Would the power of science prove to be more powerful than the power of wizardry? It’s tough to say, but author Cameron Johnston certainly speculates on the idea in the Big Idea for his newest novel, First Mage on the Moon. Read on to see how the Space Race might’ve happened with the help of a wizard’s staff.

CAMERON JOHNSTON:

For a bunch of wise folk that meddle with reality and break the rules of standard physics on a regular basis, wizards and mages in fantasy media seem a remarkably uncurious lot. Sometimes magic users are far more interested in other dimensions and eldritch creatures than in the mortal world they themselves inhabit. How many of them look up at the stars and wonder what they are, or gaze at the moon and ponder what that shining silver disc really is…and how they might get there?

First Mage On The Moon was born from a single Big Idea (OK, OK…the idle thought of a fantasy-fan): Without science, how would wizards describe gravity? Inevitably, that grew arms and legs and tentacles and thingamabobs into: What would they make of outer space? How would they breathe in a spacecraft when they don’t even know what oxygen is or why air ‘goes bad’. What about aerodynamics? and a whole host of other questions I didn’t then have answers for. When you only have a magical understanding of the world and the closest thing to science is the semi-mystical and secretive practice of alchemy, well, then things get complicated if you want to build something to visit the moon. Magic is not going to solve everything if you fly straight up and try to hit a moving object like the moon, and don’t factor in the calculations for orbits, gravity… or indeed the speed/friction of re-entry.

Science is an amazing and collaborative process and Earth’s 20th-century Space Race was a species-defining moment, but what if that happened in a fantasy world of mages, golems, vat-grown killing machines and grinding warfare. What if a group of downtrodden mages sick of building weapons of mass destruction for their oligarch overlords decided to go rogue and divert war materials into building a vessel to go to the moon, the home of their gods, and ask for divine intervention in stopping the war. When you have no culture of shared science, where do you even begin? 

All those thoughts and ideas stewed away in the back of my brain while I was writing my previous novel, The Last Shield. As all authors know, there comes a stage of writing a book when your brain goes “Ooh, look at the shiny new thing!” Very helpful, brain, coming up with magical rocket ships when I’m trying to write a book set in a fantasy version of the Scottish Bronze Age – thanks very much! That idea of wizard-science and magical engineering lodged there, immovable, and my next book just had to become First Mage On The Moon. Which was handy, as I was contracted to write another standalone novel.

While the US/USSR Space Race and modern science of our very own Earth was inevitably a huge influence on my novel, so too were the theories and writing of its ancient thinkers. Around 500 BCE, Pythagoras proposed a spherical world, and Aristotle later wrote several arguments for the same theory, such as ships sailing over the horizon disappearing hull-first and different constellations being visible at different latitudes (all of which may have given the Phoenician sailors and navigators certain thoughts too). And then comes Eratosthenes, Chief Librarian of Alexandria, and a very smart dude who was able to calculate the circumference of Earth by using two sticks in two locations and comparing the angles of their shadows. If those ancient Earth scholars could calculate such things, then surely fantasy mages, with all the magic at their disposal, could do more than fling fireballs at each other. There had to be some among them with the desire to explore beyond the bounds of myth and magic, gods and monsters, and given the opportunity to work with like-minds to build something that has never been done before, they would surely take it…despite the risks.

Found family, magical engineering, and mad ideas of actual science in a magical world all came together to form First Mage On The Moon. As much as I love my morally grey characters in realms of swords and sorcery, it was deeply satisfying to write something that little bit different, a hopeful story about human ingenuity in an increasingly fraught world. 


First Mage On The Moon: Amazon|Amazon UK|Barnes & Noble|Bookshop|Powell’s|Waterstones

Author socials: Website|Bluesky|Facebook|Instagram

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Posted by Dan Robinson

Giant UAV package will include strike, recon, logistics, and maritime systems

The UK government says it will deliver at least 120,000 drones to Ukraine this year to help it fight against Russia.…

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Posted by John Scalzi

A very arboreal view today. It’s a little misleading, since if you look left from here you’ll find a not unbusy street. Still, it would be churlish to complain about a bit of green in one’s window.

I’m in the area for an event tomorrow in which I am in conversation with Brandon Sanderson, prior to him spending time at JordanCon, and me at the LA Times Festival of Books (which will not be in the Atlanta area, but in Los Angeles). Our event is already sold out, so if you missed getting tickets, I’m sorry. Perhaps there will be a audio or video recording of it at some point.

And what about today? Well, I have a hotel room to myself and no one expecting anything of me until tomorrow afternoon around this time. I think I’ll take a nap and then see where the day takes me.

— JS

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Posted by Rebecca Watson

Transcript: Many years ago, a friend of mine suggested an experiment: make up a conspiracy theory that was just plausible enough, and then track how far it spreads. It was fun to talk about, and he had a great one that I will not share here lest it escape containment, but obviously he never did …

The Big Idea: A.Z. Rozkillis

2026-Apr-15, Wednesday 15:35
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Posted by Athena Scalzi

When there’s a million and one paths in front of you, how do you know which decision to make? What if you don’t even have control over which one you end up on? Author A. Z. Rozkillis explores the idea of every decision we make, or don’t make, sending us on different paths throughout multiple realities. Journey on through the Big Idea for her newest novel, Fractal Terminus.

A. Z. ROZKILLIS:

In an infinite universe there are infinite possibilities. It’s a concept that has enamored me for decades, has led me into a career focused on space exploration and has fueled my endless love of science fiction. And that is probably why it is the Big Idea behind Fractal Terminus

When I intentionally ended my first book, Space Station X, on a cliffhanger, I never truly intended to write a sequel. I liked the idea of leaving the speculation up to the reader about could possibly happen after an event like that. More to the point, I didn’t think I deserved to be the person to establish, canonically, what the future would hold for my main characters. But nature abhors a vacuum, and the same could be said for the space between my ears. So, I figured if I don’t want to write one follow-on outcome, and if I preferred the idea that any possibility could be canon, then why don’t I write a book where I do just that? Where I explore numerous possible outcomes from one, singularly massive event. 

Fractal Terminus really digs down into the idea that with every flip of a coin, with every path chosen, with very outcome realized, there exists a separate universe (or infinite separate universes) in which the an alternate outcome could occur. I know it’s not a new idea, its just one I have felt, personally, immensely drawn to. The universe is so unfathomably endless, with there being no way for us to truly understand how vast it is. I feel that it is entirely plausible that somewhere, at the far reaches, there exists a reality in which I chose to study animal husbandry and not aerospace engineering. Or maybe I decided to eat that questionable leftover sushi rather than pitching it when I found it at the back of the fridge. Who knows? If the universe has no limit, then maybe every single possible reality is just wrapped around us.

For my characters, their personal universe is expanding too. My first book had a very narrow focus by design, because I had a main character who had reduced her whole universe down to the same five concentric metal rings of her space station. Jax refused to consider possibilities outside of that limited existence until she was forced to. Then she swallowed her pride and took the leap of faith on her feelings for Saunders. It could have gone either way, but canonically it worked out for Jax. Then they took a different plunge. Now Jax and Saunders are suddenly flung into a situation where they have to expand their view, because new experiences have that habit of broadening your perspective.  This Space Station is no longer a cramped, desolate and lonely existence, but a cramped, desolate and overcrowded experience, where Jax has to dust off her social skills and mingle in order to survive.  And as she lets her universe expand around her to include the souls locked in fate along side her, infinitely more universe opportunities unfurl. 

Some of these are fates she realizes she can control. She can see where her actions can lead her and Saunders and she can tell when it might not be the best path. But more often than not, Jax and Saunders are at the mercy of the universe itself. Nature is a cold and uncaring master, and sometimes the coin flip is not even remotely something anyone can control.

We face these moments every day. Will this person I am talking to be an ally? Will they be my demise? Will I regret this interaction or not? Is there, even remotely, anything I could have done to change this outcome? There isn’t really a way for anyone to know, so you might as well take the chance. As the universe is expanding rapidly on a macro scale, we are, all of us, every day, making small decisions that expand our microcosm just as rapidly.  Jax and Saunders expand their view on life to include the lives around them, while the universe expands to encompass every possible, even far-fetched idea of an outcome that could ever be considered. And that’s the big idea. The universe can you send you on an infinite number of outcomes, and you’ll never know which one you are in. So you are just going to have to take it on faith that you are on the right track. 


Fractal Terminus: Barnes & Noble|Bookshop|Space Wizards

Author socials: Website|Bluesky|Instagram

Music break: Baba Yetu

2026-Apr-15, Wednesday 09:12
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Posted by Doug Muir

Do you know Baba Yetu?

Take three minutes and listen to this performance of Baba Yetu.  (Our ancient blogging platform doesn’t like embedded video, so you’ll have to click through to YouTube.  Go ahead and click, nothing bad will happen.)

Some notes:

First off, if you didn’t figure it out from the short prayer at the end, this is religious music. “Baba Yetu” is “Our Father” in Swahili, and the throughline is the Lord’s Prayer.

“Baba Yetu” is part of the modern canon.  But it was originally composed as the theme music for a video game, and no I am not kidding.

Game: Sid Meier's Civilization IV [Windows, 2005, 2K Games] - OC ReMix

Did any of you play Civ IV?  It ate hundreds of hours of my life, back when.  It got a bit grindy in the late game, but otherwise it was pretty amazing.  Remember Leonard Nimoy doing all the technology quotes?  Did you ever manage to win a cultural victory?

Anyway.  Back in the early 2000s, one of the game designers had been college roommates with a guy who was taking a major in music composition.  And a few years after graduation, the former roommate was now an up-and-coming young composer. So the game designer reached out and asked the ex-roomie if he could compose a theme for their new video game.  He agreed, and the result was “Baba Yetu”.

The composer — Christopher Tin — went on to have a celebrated career.  He’s won a bunch of awards, including a couple of Grammys.  He’s still active.  A native Californian, he’s the son of immigrants from Hong Kong.  He’s done the theme music for every version of Civilization since IV (they’re up to VII now) — presumably out of sentiment, since he pretty clearly doesn’t need the work.

Meanwhile “Baba Yetu”, as I said, has become part the canon.  It’s been repeatedly covered and is regularly performed worldwide, by everyone from the Royal Philharmonic Orchestra to the US Navy Band.

With regard to this particular performance, the choir is South African, and it reminded me of a conversation I had a few years back.  I was somewhere in Africa — I’m going to say Uganda?  — doing USAID stuff.   And an African colleague and I were discussing an upcoming event.  And he casually mentioned that “there’ll be a mix of whites, and  South Africans, and blacks”.

“You mean white South Africans?”

“Yes, white South Africans.”

“But you said whites and South Africans, like they’re different things.”

“Well, I suppose they are different things.”

“White South Africans aren’t white?”

“Of course they’re white. They’re just African white.”

Anyway. South Africa has a complicated history that’s beyond the scope of this brief blog post.  And “diverse” is an idea that’s under siege right now.  But if seeing a bunch of young people of different races joyfully working together to make something beautiful doesn’t lift your heart just a little, then I don’t know what else to add.

And that’s all.

 

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Mat Bowles

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