The Block, Element, Modifier methodology (commonly referred to as BEM) is a popular naming convention for classes in HTML and CSS. Developed by the team at Yandex, its goal is to help developers better understand the relationship between the HTML and CSS in a given project.
A site dedicated to format changes? Why not; what’s more historic than when something begins or ends? The Format Change Archive is your home for airchecks of the beginnings and endings of some of the most historic radio stations (and some you may never have heard).
As life in the Anthropocene tips into a gradual decline brought on by the irreversible effects of climate crisis, the past becomes a highly valuable commodity in criticism because the future gets more volatile by the second. Those of us with a lot of time in the bank account sit comfortably on hundreds of thousands of pre-pandemic hours, while younger, more time-poor people wonder every day what kind of past they will actually inherit—what will their past be worth?
Lily Moayeri: Trailers Use Slower and Moodier New Versions of Classic Songs to Lure Viewers (Variety)
“It’s what I call the old-comfortable-shoe phenomenon,” says Jonathan McHugh, a music supervisor, director and founding member of the Guild of Music Supervisors. “You give people something familiar, like Destiny Child’s ‘Say My Name’ in the new ‘Candyman,’ and all of a sudden they’re more engaged in the content and predisposed to enjoy what they’re watching because they love the song.”
Says Brian Monaco, president and global chief marketing officer at Sony Music Publishing: “It’s called ‘trailerizing’ a song. That means changing every aspect of the song but leaving the lyrics. People know the lyrics. The goal is to catch people’s attention. Maybe they’re not paying as much attention to the trailer, and they start to hear the chorus of the song, and they go, ‘Wait, I know this song.’ They start paying attention, and now they’re watching the trailer.” At Sony and in his four-times-a-year writing camps, Monaco has teams of writers working on reimagined versions of legendary artists’ catalogs. He has entirely reworked ELO’s discography, has redone a large portion of the Beatles’ songs and now is tackling Paul Simon’s newly acquired hefty songbook.
The act of writing has always been an art. Now, it can also be an act of music. Each letter you type corresponds to a specific musical note putting a new spin to your composition. Make music while you write.
Quinn Moreland: Something Must Change After Astroworld (Pitchfork)
Scott has long asserted that his shows are a place where fans can let loose and rage through mosh pits, crowd-surfing, stage-diving, and general mayhem. He is far from the only rapper to borrow specific elements from the punk or hardcore underground, but the Astroworld tragedy underscores how important it is that chaos coexist with an ethos of community and accountability. A mosh pit is a collective, physical release of energy and there is the understanding—unspoken or otherwise—that if someone falls, you pick them back up. This is not to suggest that concertgoers at Astroworld did not try to help those who were fighting to stay upright: people crowd-surfed unconscious bodies to safety even while the crush made it extremely difficult for anyone to lift their arms, and at least one attendee testimonial describes pleading with event staff to stop the show. But footage from the festival also suggests a pervasive “every-man-for-himself” mentality, from the fans who pushed others to the ground to get inside, to those who danced atop an ambulance as it inched through the crowd to help people who were literally dying. It can never be said enough: one person’s good time should never come at the expense of another’s safety.
These kinds of tragedies should lead to a re-evaluation of safety procedures—and in prominent examples, this has been the case. After the Who concert, Cincinnati banned general-admission concert seating for nearly 25 years. Following Roskilde, Pearl Jam took a six-year break from festivals and returned with strict, hands-on safety policies that included the right to “evaluate all operational and security policies in advance, such as design and configuration of barriers and security response procedures in relation to ensuring our fans’ safety,” as well as the ability to stop a show if needed. Roskilde itself implemented preventative crowd safety measures, including a barrier system that divides the audience into separate pens and more intensive training for security workers. This is the level of oversight we need *before* something horrific happens.
Let’s take a look inside your
Your is the single biggest render-blocking part of your page—ensuring it is well-formed is critical. ct.css is a diagnostic CSS snippet that exposes potential performance issues in your page’s tags.
Trying to figure out what I can charge my Switch with and this answered it.
Any USB-C charger should allow any model Switch to charge and play at the same time. A USB-A charger will have mixed results. If forced to use one plug it into the Switch while the battery is still at 100% for best results.
Given an ideal charger, all models of the Switch will charge from 0-100% in 3-3.5 hours. The larger models actually charge faster while playing than while sleeping. [...] There is no problem charging the Switch while you play. But when not in use, best to let it sleep while it recharges.
The Switch dock has specific requirements. When not using the Switch AC adapter, you’ll need a 45W or 60W USB-C PD charger. Otherwise the dock won’t function, or even charge the Switch.
Kait Sanchez: How Bunny the dog is pushing scientists’ buttons (The Verge)
When Bunny presses “Settle, Sound, Ouch,” she might be using a novel string of known words to tell someone to quiet down, or she might be pressing a random series of buttons while confirmation bias on our part does the rest of the work. Even Devine says that she thinks Bunny’s “speech” is primarily operant conditioning, where Bunny has made an association between pressing a button and something happening. A true understanding of language goes beyond simple associations, and involves pulling unique combinations of words together into narratives.
Maura Judkis: Can these dogs really talk, or are they just pushing our buttons? (Washington Post)
Pet owners and cognitive scientists are exploring if we can teach dogs to speak with buttons, called AAC devices.
“I do have to say, ‘Okay, how much am I reading into this?’ How much of this is anthropomorphized and how much is like, I’ve already interpreted these buttons in this way, so I’m going to continue to interpret and it becomes its own sort of dialect?” she says. “I try and remain open to all of the possibilities.”
See also: https://upptime.js.org
GitHub-powered open-source uptime monitor and status page
• GitHub Actions is used as an uptime monitor
• Every 5 minutes, a workflow visits your website to make sure it's up
• Response time is recorded every 6 hours and committed to git
• Graphs of response time are generated every day
GitHub Issues are used for incident reports
• An issue is opened if an endpoint is down
• People from your team are assigned to the issue
• Incidents reports are posted as issue comments
• Issues are locked so non-members cannot comment on them
• Issues are closed automatically when your site comes back
• Slack notifications are sent on updates
• GitHub Pages are used for the status website
• A simple, beautiful, and accessible PWA is generated
• Built with Svelte and Sapper
• Fetches data from this repository using the GitHub API
Kate Wagner: Don’t Let People Enjoy Things (The Baffler)
An issue common to all of our LPET posters is that they think criticism means forbidding people from enjoying media in general. First of all, people are just as allowed to *dislike* things as they are permitted to enjoy them—you can’t trick them into changing their minds with your authoritarian meme posting. Second, I introduce this radical idea: you can still enjoy things while being critical of them—it can even lead to a greater appreciation of societal and historical context, and it can make you usefully wary of the role the shit forces of the world play in the media we consume. It can also help us maintain our political and social integrity while watching or reading or listening to whatever is offered to us. For example, my peacenik, anticapitalist proclivities may make me critical of many mainstream blockbusters, but they also afford me a greater appreciation of movies like ‘Office Space’ and Dolly Parton’s classic ‘9 to 5.’ Finally, though our LPET posters think otherwise, it is indeed possible to *like some things about a piece of media and dislike things about that same piece of media all at once*.
Martha Cheng: Hawai‘i’s 7-Eleven Stores Offer Better Food Than Their Mainland U.S. Counterparts (Honolulu Magazine)
But with aggressive expansion plans, 7-Elevens across the U.S. might soon look a little more like those here.
Everyone has their favorite 7-Eleven food: For one friend, whose first job out of college was stocking cigars at 7-Eleven, it’s the shrimp pork hash that reminds her of her childhood manapua truck. For another, it’s the fried chicken musubi, his energy bar for a paddle run. A farmer’s guilty pleasure is the ingeniously cellophane-sheathed tuna sushi that you roll in the still-crisp nori. And of course, there’s the ever popular Spam musubi—7-Eleven Hawai‘i sells 14,000 every day, requiring a pallet’s worth (2,000 cans) of Spam. For me, it’s the lup cheong manapua, warm from the steam case, the Chinese salami wrapped up in the dough equivalent of a puffer jacket. 7-Eleven Hawai‘i feels like one of those brands in Hawai‘i, like McDonald’s and Longs Drugs, that gets us. You won’t find our level of affection for 7-Eleven on the Mainland, just as you won’t find lau lau and kālua pig, recently spotted at the Second Avenue location in Kaimukī (the first 7-Eleven in Hawai‘i when it opened in 1978) and others.
Franchisees manage the majority of Mainland 7-Eleven stores. In Hawai‘i, all are owned by 7-Eleven Hawai‘i, which reports directly to Japan. But that doesn’t mean every store stocks the same items: Each outpost is responsible for its own daily ordering, to better adapt to its customers. Roadwork outside the Waipahu location meant the store manager there had to order larger bentos and more drinks to keep up with construction workers’ appetites. And when schools closed last March, 7-Elevens saw a drop in musubi sales as students stopped coming into the stores every morning.
Aaron Mesh: Mass Shooting Kills 18-Year-Old Woman Near Downtown Portland Food Carts (Willamette Week)
I'm having a hard time coping with this.
A mass shooting in downtown Portland, shortly before last call on Saturday morning, killed an 18-year-old woman and injured six others near a line of food carts in what police described as “an extremely chaotic scene.”
Portland Police Chief Chuck Lovell said the killing, along with another fatal shooting four hours later in the Parkrose neighborhood, in deep Northeast Portland, marked the city’s 50th and 51st homicides of the year. Portland saw 55 homicides in 2020, a 26-year record but one on pace to be broken by the end of July.
As of July 6, the city had seen 579 shooting incidents in 2021—more than double the number at that time in 2020. For months, city leaders have bitterly debated whether to increase staffing for a police force that saw its budget trimmed amid racial justice protests last year and is dogged by repeated allegations of excessive force.
It occurred three blocks south of Ankeny Alley, the center of an Old Town nightlife district where dance clubs are once again packed to capacity after pandemic shutdowns. That “entertainment district,” which was once fenced off and surrounded by police squad cars on weekend nights, now sees a sparse police presence, despite what club security services describe as a gang war occurring near the queues for their venues.
Asked by WW why police presence in the Old Town entertainment district was scant, Lovell said those officers were reassigned after COVID shutdowns reduced nightlife, and implied that the bureau was still learning that the clubs were again drawing crowds.
Tim Dickinson: I Moved to Portland Because It Seemed Like a Safe Bet in the Face of Climate Change. I Was Naive (Rolling Stone)
A dispatch from under the heat dome that shattered temperature records in the Pacific Northwest
In a city deadened by heat, the only hive of activity I spotted was at the public park that was the epicenter of Portland’s street protests and federal occupation last year. A half-dozen activists sat in folding chairs, camped under a canopy tent that read “Community Jail Support.” They were set up, as usual, to provide what leftists call “mutual aid,” to people exiting jail at the county Justice Center, as well as to a homeless encampment lining the nearby sidewalk. Tables and a shopping cart were stacked with water and Gatorade bottles dropped off by volunteers dedicated to serving these communities.
Portland is not built for this heat. About a third of Portlanders have no air conditioning. That rises to well over half of residents in nearby Seattle. But I’m not sure any place is built for this heat. And that’s the problem. The emerging extremes of climate change are survivable with the right infrastructure. But our legacy infrastructure literally buckles and melts under this new reality.
Jonathan Maus: Post-pandemic traffic is weighing on me (BikePortland)
Could we have been more ambitious with temporary, pop-up road diets and bike lane networks? Did we miss a perfect political moment to fundamentally alter peoples’ perceptions of street potential? Did we fight off one virus, only to allow another — the congestion and catastrophic climate and community-destroying consequences of car abuse — to re-infect us?
In this regard the answer to the question of “is this copaganda?” is yes, because an idealized symbiosis of white femininity and carceral power is basically the happy ending that American mass culture wants all of us to hope for. (That the chief of police is one of several framing Black characters only adds to the white carceral feminist fantasy, in that the show aggressively separates the police from white masculinity’s dangers.) But that “yes” comes with ambivalence, because this show is inside of white femininity deep enough to recognize white femininity, much like a police station, as a grim and dangerous place. But in a world where whiteness and carcerality have a lock on power — which, just saying, is not the only world we could imagine — that grim danger might feel, to the lucky some, the safest place available.
What all this has to do with copaganda is that, by casting Kate, Mare of Easttown is making a particular offer to viewers like me: white women who have matured (Kate Winslet is exactly my age) watching Kate Winslet navigate the disciplining power of the American beauty economy. It is a particular offer about our abilities, ourselves, to seize police power to do our bidding. Kate Winslet is not Cameron Diaz, just like I am not. So maybe I could be her, no matter the status of my disciplinary body shit. Maybe I could be beautiful, maybe I could be worth saving. Maybe I could be the special version of copaganda this show offers, which is where the gap in power between police and white women collapses, and one woman, Mare, or me, holds the weapons of both. Maybe, just as Kate is, I could be the one who could keep the other white women safe.
Mare of Easttown seems, at its end, to be heading into its own attic. Its ambivalent relationship to the story of police and white femininity it tells manifests in how it offers up the future — as a choice between two kinds of storytelling. There’s the male one Ryan will produce, one connected to Richard’s novel, apparently called May’s Landing, which looks to me a lot like the kind of prestige women-suffering fiction that Mare of Easttown also is. Against that, it offers the one Siobhan will produce, somewhere off-stage. When Siobhan drives away, this is one white woman, the show wants us to believe, who has truly been protected by her mother, the police. She’s been guided into a different story, to learn how to tell a different story.
Kale Williams: With a heat dome poised to shatter Oregon records, what role does climate change play? (The Oregonian)
"Climate change isn't your grandchildren's problem, it’s yours.”
“There are wide disparities in who is being exposed to the heat,” she said. “For the privileged, it’s an inconvenience. Other individuals don’t have a choice.”
Among those most affected are those who have no readily available shelter, people experiencing homelessness and people who work in agriculture or construction.
Researchers at Portland State University found that areas historically subject to racist housing discrimination policies such as red-lining are home to “urban heat islands” where temperatures can sometimes be as much as 13 degrees hotter than other parts of the city. These areas have historically been denied investments in greenspace and tree cover that act as cooling mechanisms in more affluent parts of Portland.