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Draft Registration Has Hurt American Men for Decades. Now It May Hurt Women, Too.

Mother Jones

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Every month, on the sixth floor of an office building in Arlington, Virginia, the employees of a mostly forgotten government agency practice sending you to war.

They gather in a windowless white-and-turquoise conference room for what feels like the world’s saddest, most ominous Pick 6 drawing. At the far end, ping-pong balls are racked up inside a pair of plastic drums, big, clear hexagons that sit on pedestals above industrial gray carpeting. One holds 366 balls, each blue and labeled with a different day of the year, including leap day. The white balls in the other drum are numbered 1 to 366. The lower the number, the likelier a young man will be told to pick up a rifle.

The workers drop the balls out of their racks and send them bouncing around the drums, lottery-style. After a minute, a woman plucks one out and reads off the date: September 1. Another worker double-checks and barks out the date a second time, over the whir of the drum fans. Off to the side, a TV screen keeps track of the drawing results, a Microsoft Office version of the NFL’s fancy draft ticker. Then two other employees repeat the process with a numbered ball. They pull 235; September 1 babies are probably safe.

This is all a dry run. An actual military draft would be broadcast live across the country, watched by the same mix of young men, frantic parents, and rubberneckers who tuned in to witness the lotteries held during the Vietnam War. The real thing hasn’t been held in more than 40 years, and virtually no one believes it will ever be held again. That hasn’t stopped the government from continuing to fund the 124-person Selective Service System to the tune of $23 million a year, saying the independent agency—whose sole function is to administer the draft—is needed in case we ever face another large-scale war. “We’re a very inexpensive insurance policy,” says Lawrence Romo, a stout 59-year-old former Air Force officer who’s now the agency’s director. Every American man between 18 and 25 still has to register for the draft or face the consequences.

Now women, finally allowed into front-line combat positions this year, may have to join them.

Failure to register is a felony. It can theoretically land you in prison for five years or cost you a $250,000 fine. Selective Service still sends lists of nonregistrants to the Department of Justice in case the government feels like prosecuting anyone. Prosecutions don’t occur during peacetime, Romo assures me, but “severe consequences” still lurk. Men who don’t register before age 26 can’t hold most federal jobs or get federal government student loans. Many immigrants who arrive in the United States before they turn 26 can’t become citizens if they don’t register. A majority of states even make registration a requirement to get a driver’s license. And once you’ve missed the deadline, there’s no going back. (In 2014, 12 percent of men ages 18 to 25 failed to register.)

No agency tracks how many people are cut off from college loans and other federal programs each year, but the potential scope is huge. Last year, just over 58,000 young men asked Selective Service for a “status information letter” that tells them whether they’re registered or if they’re exempt from registering. (The agency doesn’t track its answers.) Such letters are often requested when students are trying to figure out if they’re eligible to apply for federal loans, appeal aid denial, or seek federal government jobs.

Karen McCarthy, a senior policy analyst at the National Association of Student Financial Aid Administrators, calls linking federal loans to the draft a “whim of Congress to incorporate some kind of social agenda into the financial-aid eligibility process.” The federal student aid application, she points out, asks applicants only two specific questions about potential crimes: Did you register for Selective Service, and have you ever had a drug conviction? “We would love to see the Selective Service question removed entirely” from financial aid applications, she says.

But now the pool of registrants may be about to double. The Pentagon opened all of the military’s combat jobs to women in January, and Secretary of Defense Ashton Carter called on Congress to reexamine draft laws. House and Senate lawmakers have done so—and they have apparently decided it’s time for women to sign up for the draft as well. (Romo estimates that expanding his agency to register women will cost another $8 million a year and require 36 more employees.) First two Republicans on the House Armed Services Committee, both opposed to women in combat, pushed an amendment to the 2017 defense spending bill that required women to register, intending it as a “gotcha amendment” to prove that Democrats weren’t serious about allowing women to take combat jobs. The effort backfired when the measure passed their committee. And while the full House removed that language from its defense bill, the Senate this week passed its own version that requires women to start registering with Selective Service beginning in 2018.

The House and Senate now have to come up with a compromise version of the defense bill, and President Barack Obama has threatened to veto it because of a provision that bans closing the prison at Guantanamo Bay. Drafting women doesn’t sit well with opponents of Selective Service, including Rep. Peter DeFazio (D-Ore.), who has repeatedly introduced bills to kill the draft altogether during peacetime. He argues that the current system has “outmoded computers” and “inaccurate lists” and wouldn’t be effective even if needed. “I am not about to revise the Selective Service and say we should now take the other half of young people in America and subject them to the same stupid, unnecessary, mean-spirited, wasteful bureaucracy,” he says of including women.

The United States first conscripted soldiers during the Civil War and did so again for World Wars I and II. All three times, the draft went away when the wars ended. It wasn’t until the Cold War that the draft became a peacetime fixture. It remained in effect until the US military became an all-volunteer force in 1973. Only in 1980 did registration return, and the impetus was geopolitical brinksmanship. “President Carter decided that, given the Russian invasion of Afghanistan, we wanted to show our resolve—and that we would do that by registering,” says Bernard Rostker, then the head of the Selective Service agency and now a senior fellow at the RAND Corporation.

Despite once overseeing the process, Rostker argues that registration has always been pointless. Young men are required to keep Selective Service apprised of address changes, but few do. In 1982, just two years after draft registration had resumed, the US General Accounting Office (now called the Government Accountability Office) found that 20 to 40 percent of the addresses for 20-year-olds were outdated. The GAO pegged the number at 75 percent for 26-year-olds. In the event of an emergency call-up, Rostker says, a huge chunk of records would be useless.

Then there’s the question of whether draftees would even be helpful to the military. “The fact of the matter is we have a high-tech military,” Rostker says. “I don’t see us needing 600,000 untrained people. I don’t have any idea what the hell we would do with them.”

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Draft Registration Has Hurt American Men for Decades. Now It May Hurt Women, Too.

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13 Cartoon Portraits of Legendary Blues Artists

Mother Jones

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Before I read the author’s note, there was something that confused me about William Stout’s great new book, Legends of the Blues, due out May 7 from Abrams ComicArts (with an intro by music journalist Ed Leimbacher). Where were Memphis Minnie, Mississippi John Hurt, and Reverend Gary Davis, three of my personal faves? How could he overlook them? Also, why did the artwork feel so familiar, yet so different from other stuff I’d seen from Stout—an acclaimed comics, fantasy, and pop-culture artist and illustrator whose work you’ve undoubtedly seen. And then it hit me: Robert Crumb! This, as it turned out, was the answer to both questions.

Way back when, cartoonist Crumb, a blues and old-time music freak who has drawn his share of artists and album art (you can view some of them here along with our Crumb interview), created a series of 36 Heroes of the Blues trading cards. They included, among others, Memphis Minnie and John Hurt; Stout, an avid blues fan, had loved Crumb’s cards and didn’t want to replicate them. But the others were fair game. Rhino Records founder Richard Foos, a friend of Stout’s, ended up licensing Crumb’s portraits for a series of greatest hits CDs for Shout! Factory. And since Crumb had moved on to other stuff, Foos approached Stout to produce some additional ones in a style similar to Crumb’s.

That’s how it started. But after his assignment was complete, Stout kept it up. He was hooked. While recovering from cancer treatments, he cranked them out, imagining that he would produce a bunch of new trading-card sets. In the end, Denis Kitchen, another friend (and the guy who commissioned Crumb’s original cards) suggested that Stout make them into a book instead.

Legends… profiles a whopping 100 blues artists—many of them you’ll recognize and many you won’t. It’s a must for blues fans or even dabblers—although Stout cautions that purists might be upset by his inclusion of crossover artists. Hey, whatever. The format is simple: Each spread contains the artist’s vital stats; recommended tracks; notable tributes and covers by other artists; and a short, punchy mini-profile of each one. The book comes with a 14-track CD compilation, with some nice gritty old tunes from the likes of Mississippi Fred McDowell, Bukka White, and Rev. Robert Wilkins—I’m listening to it right now!

But the real treat is Stout’s Crumby (sorry) portraits. Colorful, evocative, playful, they pay homage both to the original cards and to the great musicians Stout came to admire. There’s the badass blues guitarist Robert Johnson, said to have sold his soul to the devil in exchange for his chops. Champion Jack Dupree, who made the unlikely leap from pro boxer to pro musician. The highly talented yet modest sideman Papa Charlie McCoy. And Lucille Bogan, notorious for her raunchy lyrics. The Crumb effect runs especially strong with certain portraits—for instance, Slim Harpo, whose tunes were covered by a who’s who of 1960s rock icons. Here’s the Stones doing Harpo’s “Shake Your Hips” way back when.

So, okay, I missed those few musicians, but I also learned about plenty of folks I’d never heard of—including a good number of blueswomen. And the poor chap had to crank out 100 portraits. You could hardly ask him to do more. Except that he did so anyway. By the end of Stout’s drawing marathon, he had produced 150 portraits, so maybe a sequel is in the cards. Talk about collecting ’em all!

The book’s cover features a young Muddy Waters, a.k.a. McKinley Morganfield (April 4, 1913-April 30, 1983). Instruments: guitar, vocals. A spiritual protégé of Son House and Robert Johnson, the prolific Morganfield got his nickname because he loved playing in the mud as a kid. Recommended tracks: “I Can’t Be Satisfied,” “Rollin’ and Tumblin’,” “Rollin’ Stone,” “Mannish Boy,” “She Moves Me,” “Hoochie Coochie Man,” ” I Just Want to Make Love to You,” “I’m Ready,” “Got My Mojo Working,” “You Shook Me.”

Lead Belly, a.k.a. Huddie Ledbetter (January 1888-December 6, 1949). Instruments: accordion, fiddle, 12-string guitar, mandolin, piano, violin, vocals. Ledbetter, who served several stints in prison, once received a pardon after writing a song appealing to the governor. Recommended tracks: “Black Betty,” “Gallis Pole,” “Boll Weevil,” “New Orleans (Rising Sun Blues),” “Where Did You Sleep Last Night?,” “The Bourgeois Blues.”

Big Maybelle, a.k.a. Maybelle Louise Smith (May 1, 1924-January 23, 1972). Instruments: piano, vocals. Won a Memphis talent contest at age eight, and went on to record several Billboard hits. Recommended tracks: “Gabbin’ Blues,” “Way Back Home,” “My Country Man,” “Whole Lotta Shakin’ Goin’ On,” “St. Louis Blues,” “Blues Early Early.”

Blind Boy Fuller, a.k.a. Fulton Allen (July 10, 1907-February 13, 1941). Instruments: guitar, vocals. Began losing his sight during his mid-teens from ulcers due either due to snowblindness or to chemicals thrown in his face by an ex-girlfriend. Recommended tracks: “Rag, Mama, Rag,” “Truckin’ My Blues Away,” “Get Your Yas Yas Out,” “Step It Up and Go,” “Mamie,” “Rattlesnakin’ Daddy.”

Lucille Bogan, a.k.a. Lucille Anderson and Bessie Jackson (April 1, 1897-August 10, 1948). Instruments: accordion, vocals. Known for her bawdy lyrics about booze and sex. Recommended tracks: “Shave Em’ Dry” (explicit version), “B.D. Woman’s Blues” (B.D. stands for “bull dyke”), “Seaboard Blues,” “Troubled Mind,” “Superstitious Blues,” “Black Angel Blues.”

Slim Harpo, a.k.a. James Moore (January 11, 1924-January 31, 1970). Instruments: harmonica, vocals. Music was always a side job for Slim, whose tunes were nonetheless covered by, among others, the Kinks, the Rolling Stones, the Who, and the Yardbirds. Recommended tracks: “I’m a King Bee,” “I Got Love If You Want It,” “Rainin’ in My Heart,” “Baby Scratch My Back,” “Shake Your Hips.”

Robert Johnson, a.k.a. Robert Leroy Dodds (May 8, 1911-August 16, 1938). Instruments: guitar, vocals. Johnson was rumored to have sold his soul to the devil for tuning his guitar just so. The influential blues master has been covered by the likes of Cream, Fleetwood Mac, Led Zeppelin, and the Rolling Stones. Recommended tracks: “Crossroads Blues,” “Love in Vain,” “Have You Ever Been Lonely,” “Hellhound on My Trail,” “Stop Breakin’ Down Blues,” “From Four Until Late,” “Traveling Riverside Blues,” “Come On in My Kitchen.”

Mississippi Fred McDowell (January 12, 1904-July 3, 1972). Instruments: guitar, vocals. McDowell, who was actually born in Tennessee, divided his time between farming and music until he was “discovered” by folklorist Alan Lomax. Recommended tracks: “You Gottta Move,” “Baby Please Don’t Go,” “Good Morning Little School Girl,” “Jesus Is on the Mainline.”

Victoria Spivey (October 15, 1906-October 3, 1976). Instruments: organ, piano, ukulele, vocals. Spivey’s lyrics were sexually provocative and drug related; she retired from the music biz in 1951 to sing and play in church before returning to the stage in the 1960s, when she founded her own label, Spivey Records. Recommended tracks: “Dope Head Blues,” “TB Blues,” “Black Snake Blues.”

Clarence “Pine Top” Smith (June 11, 1904-March 15, 1929). Instruments: piano, vocals. Smith’s promising career ended abruptly when he was shot and killed during a dance hall ruckus. No photos of him exist, hence the shadowy face. Recommended track: “Pine Top’s Boogie Woogie.”

Big Joe Turner, a.k.a. Joseph Vernon Turner Jr. (May 18, 1911-November 24 1985). Instrument: vocals. Turner’s voice was so big he could rock a gin joint without a mic. He became a hit machine during the early ’50s with several No. 1 hits. Recommended tracks: “Roll ‘Em, Pete,” “Honey Hush,” “Shake, Rattle and Roll,” “Flip Flop and Fly,” “Cherry Red,” “Wee Baby Blues,” “Midnight Special.”

Ethel Waters (October 31, 1896-September 1, 1977). Instrument: vocals. A sought-after vaudeville performer and nightclub singer who then scored on Broadway and in Hollywood, Waters became the second-ever black actor to be nominated for an Oscar. Recommended tracks: “Heebie Jeebies,” “Am I Blue?,” “Down Home Blues,” “Shake That Thing,” “Maybe Not at All,” “Black Spatch Blues,” “Midnight Blues,” “Jazzin’ Baby Blues.”

Reverend Robert Wilkins (January 16, 1896-May 26, 1987). Instrument: guitar, vocals. In 1935, deeply upset by violence at a party he was playing, Wilkins quit secular music to become a minister and an herbalist. Recommended tracks: “That’s No Way to Get Along,” “Rolling Stone.”

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13 Cartoon Portraits of Legendary Blues Artists

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This Genius Babysitter Created a Simple Game That Will Make Every Kid a Feminist

Mother Jones

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My friend Emily Stout is an actress in New York who baby-sits on the side. She created a game to play with little Sal, age 9, and it is so great that I have to share it with you. (Also what’s the point of having a blog if you can’t use it to point to your friends when they do something cool?)

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New favorite babysitting game:Every historical woman you can name earns you 10 seconds of Candy Crush. Each round…

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(if you can’t read that post, here’s what it says:)

New favorite babysitting game:

Every historical woman you can name earns you 10 seconds of Candy Crush. Each round lasts one minute.

Round 1 with Sal Liebman, age 9:

Sal: “Ummmm…..okay okay.

1) Harriet Tubman who invented an underground tunnel to free slaves, okay

2) Amelia Earhart, first woman to fly solo over the Atlantic Ocean, ummmm

3) Ann something, Ann something, Annie Mary? The first woman on Ellis island!

4) okay okay, umm, her name is Melba I think? Melba and she was the first African American trombone player in a symphony, like a real symphony, uhhhh

5) ugh this is hard, this is hard, can I do someone I know? Okay, my mom, one of the scientists at Columbia who watches yeast in the nighttime and the daytime…. Does that count?”

Me: “Is she a smart woman changing history?”

Sal: “Yeah…?”

Me: “Yeah, it counts.”

Sal: “Okay, one more and I get a full minute. Ahhh!! This is so hard! It’s hard cause I can only think of men right now!”

Me: “….whose problem is that?”

Sal: “Please can I have a whole minute?? Please?!”

Me: “No way if you can’t name me another lady! There are hundreds!”

Sal: “Uh, uh, okay, um, UM, Emily Stout, the best babysitter in the whole world with the silliest laugh and nicest person with so many fun things and games?!?”

Me: “…………………alright, yeah you got it.”

As one of the commenters put it on her post, “you’re doing the lord’s work.” Amen.

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This Genius Babysitter Created a Simple Game That Will Make Every Kid a Feminist

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Why Is BP Funding America’s Most Notorious Climate Change Denier?

Mother Jones

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This story was originally published by the Guardian and is reproduced here as part of the Climate Desk collaboration.

One of America’s most powerful and outspoken opponents of climate change regulation received election campaign contributions that can be traced back to senior BP staff, including chief executive Bob Dudley.

Jim Inhofe, a Republican senator from Oklahoma who has tirelessly campaigned against calls for a carbon tax and challenges the overwhelming consensus on climate change, received $10,000 from BP’s Political Action Committee.

Following his re-election, Inhofe became chair of the Senate’s environment and public works committee in January, and then a month later was featured in news bulletins throwing a snowball across the Senate floor.

Before tossing it, the senator said: “In case we have forgotten—because we keep hearing that 2014 is the warmest year on record—it is very, very cold outside. Very unseasonal.”

The BP PAC is funded by contributions from senior US executives and company staffers who sent in contributions to the PAC totaling more than $1 million between 2010 and 2014. Over the same period the committee paid out $655,000 to candidates, with more than 40 incumbent senators benefiting.

Yet, BP and Dudley have long called for world leaders to intervene and impose tough regulatory measures on the fossil fuel industry. Publishing its 98-page research paper, Energy Outlook 2035, last month, BP warned: “To abate carbon emissions further will require additional significant steps by policymakers beyond the steps already assumed.”

Dudley has personally given $19,000 since June 2011 to the BP PAC—very close to the $5,000-a-year maximum allowable by law. Although Dudley is a resident of Britain, he is eligible to give via the BP PAC because he is a US national.

While the sums channeled to Inhofe’s campaign represent only a small proportion of the BP PAC’s election spending and the senator’s own campaign funds, they show how unafraid the committee has been to spread its donations to the most controversial candidates. According to the BP PAC website, it financially supports election candidates “whose views and/or voting records reflect the interests of BP employees.”

Records suggest Inhofe’s 2014 campaign was a funding priority for the BP PAC, ranking as one of the top recipients of committee funds when compared with disbursements to other serving senators.

This was despite Inhofe’s senate battle not being a close one. His opponent, Matt Silverstein, who Inhofe beat comfortably in last November’s midterms, had a tiny campaign war chest by comparison.

BP was asked whether it was appropriate for the PAC to make campaign contributions to such a vocal opponent of action on climate change, or for Dudley to be contributing towards such payments.

In a statement BP replied: “Voluntary donations by staff to the BP employees’ political action committee in the US are used to support a variety of candidates across the political spectrum and in many US geographies where we operate.”

“These candidates have one thing in common: They are important advocates for the energy industry in the broadest sense.”

It added: “BP’s position on climate change is well known and is long-established. We believe that climate change is an important long-term issue that justifies global action.”

The company declined to comment on Dudley’s own donations.

PACs exist in the US where companies and trade unions cannot give directly to the campaigns of those running for office. Instead funds are pooled from staff—often senior executives—into a PAC, and disbursed by a committee board, often in a manner sympathetic to the company’s lobby and other interests.

Other US oil industry leaders, including Exxon Mobil chief executive Rex Tillerson, make contributions to their own corporate PACs—money which in many cases can then be traced to Inhofe and other climate-skeptic politicians.

But Tillerson and other peers have not been as outspoken as BP and Dudley in calling for state intervention to tackle climate change, making the BP boss’s links to Inhofe campaign finance more controversial.

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Why Is BP Funding America’s Most Notorious Climate Change Denier?

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John Coltrane for Experts

Mother Jones

The John Coltrane Quintet Featuring Eric Dolphy
So Many Things: The European Tour 1961
Acrobat

So many “things” indeed! This intriguing four-disc collection of concert performances from November 1961 features six different renditions of the standard “My Favorite Things, each running 20 to 29 minutes, along with more compact versions of “Blue Train,” “I Want to Talk About You.” and other Coltrane favorites. These previously bootlegged concerts were taken from radio broadcasts and suffer slightly from thin sound, but are more than listenable. If So Many Things isn’t for beginners, it’s great extra-credit listening: With multi-instrumentalist Eric Dolphy briefly in the lineup, Coltrane was pushing his tenor and soprano sax chops into new territory, leaving behind traditional melodies and song structures in a restless search for fresh ideas and approaches—a quest he would continue until his death in 1967. The harsher extremes of his final years are yet to be reached, and there’s a mesmerizing, meditative quality to the music throughout that’s dreamy, yet subtly urgent.

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John Coltrane for Experts

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We need to talk about your old basement TV

We need to talk about your old basement TV

By on 9 Feb 2015commentsShare

In the latest episode of “So You Think You’re Doing a Good Thing?” we discuss what to do with outdated yet still perfectly useful electronics. Spoiler: You’re going to feel guilty no matter what because that’s what it means to be environmentally conscious in a consumerist society.

The good news is our electronics have become more energy-efficient over time thanks to things like Energy Star standards. The bad news is our feel-good energy-efficient purchases are meaningless because we’re a bunch of packrats who keep old devices instead of actually replacing them.

At least that’s the takeaway from a new study out of the Rochester Institute of Technology on the purchasing habits and use of electronics in the average U.S. household between 1992 and 2007.

To set the stage, let’s recall what technology looked like during those 15 years. In 1992, we had desktop computers, box-set TVs, early cellphones and laptops. By 1997, we had digital cameras and camcorders. By 2002, we had MP3 players, smartphones, DVD players, and LCD TVs, and by 2007, we had tablets, e-readers, and plasma TVs.

(Requisite pause for nostalgia basking.)

OK. That’s enough.

In their study, published in Environmental Science & Technology, the Rochester crew compared a household’s collection of devices, or “product community,” to a community of organisms. Like organisms, our devices stick around for a certain period of time, consuming resources (electricity, fuel, plastic, glass, metal, etc.) and excreting waste (e-waste).

What the team found was that while individual devices in these communities consumed less energy over time, the communities themselves kept growing and consequently guzzling more and more energy. The average household had 13 devices in 2007, compared to only four in 1992, the reported.

“There are a lot of products in U.S. households that do the same thing, but we still own 20 of them,” Callie Babbitt, one of the study’s researchers, told Science.

Babbitt and her co-authors found that in 2007, the average U.S. household had three box-set television sets and a total “product community” with an energy impact equal to 30 percent of the annual fuel consumption of the average 2007 passenger vehicle.

They also found that over those 15 years, box-set TV and desktop computer use grew by 20 and 100 percent, respectively, so not only were we accumulating devices, but we were also using them more often.

Apparently, the evolution of technology isn’t quite as ruthless as the evolution of living organisms. The rise of plasma TVs, for example, didn’t drive the old box-sets to extinction, but rather into basements and bedrooms. It might feel wasteful to get rid of a perfectly good TV, but perhaps it’s better to donate or recycle it than to keep it around as a secondary set. See? I told you you’d feel bad no matter what.

Fortunately, the researchers do see a glimmer of hope in post-2007 technology. New multi-purpose devices like tablets and laptops that also act as TVs and MP3s could be the “invasive species” that totally wrecks current device ecosystems, they say, and in this environment, that would be a good thing.

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We need to talk about your old basement TV

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Martin Scorsese Asked This Band If He Could Use Their Song When Leonardo DiCaprio Has Sex on Money

Mother Jones

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Martin Scorsese’s The Wolf of Wall Street is the year’s best film—a towering achievement in humor and sprawling excess. The movie hits theaters on Christmas Day, and dramatizes the testosterone-soaked saga of Jordan Belfort, co-founder and chairman of Long Island brokerage house Stratton Oakmont, who went down for securities fraud and money laundering in the 1990s. The script—overflowing with orgies, Quaaludes, and scandal—is by Terence Winter (The Sopranos, Boardwalk Empire), and the film stars Leonardo DiCaprio, Jonah Hill, Matthew McConaughey, Margot Robbie, and Cristin Milioti.

The Wolf of Wall Street soundtrack is heavy on blues music, and includes some familiar names such as Elmore James, Howlin’ Wolf, and Bo Diddley. (Critics frequently note the quality of Scorsese’s soundtracks, from Mean Streets to The Departed, which often lean heavily on classic rock.) But one of the songs prominently featured in a couple of scenes in The Wolf of Wall Street is by a blues-rock duo you probably haven’t heard of: The band is the Los Angeles-based 7Horse, with Phil Leavitt on drums and lead vocals, and Joie Calio on guitar. (The two previously played together in the alt-rock group Dada, and have been playing together for two decades.)

The song is “Meth Lab Zoso Sticker“:

“Meth Lab Zoso Sticker” is also the first song heard in the film’s second trailer. It’s a catchy and exciting blues number. But how did Scorsese hear it?

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Martin Scorsese Asked This Band If He Could Use Their Song When Leonardo DiCaprio Has Sex on Money

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Stout EcoSAfe-6400 Compostable Bags,0.85 Milliliters, 48 x 60, Green, 30/Carton (E4860E85)

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