Tag: Saved for Later

David Bowie passed away yesterday following an 18-month battle with cancer. The news was confirmed through his official website, his publicist and son Duncan Jones, who tweeted, "Very sorry and sad to say it’s true." Though he only lived to 69, it’s hard to think of an artist who had a larger impact on pop culture. Bowie was a gifted and prolific songwriter who created iconic albums like Diamond Dogs, Heroes and Let’s Dance. He was also a fashion icon, actor, painter, producer, Broadway star and performer who invented iconic alter-egos like Ziggie Stardust, the Thin White Duke and Major Tom.

Very sorry and sad to say it’s true. I’ll be offline for a while. Love to all. http://pic.twitter.com/Kh2fq3tf9m

— Duncan Jones (@ManMadeMoon) January 11, 2016

Bowie had a huge impact on geek and sci-fi culture. His first hit, Space Oddity, was released shortly after 2001: A Space Oddysey and the same month that Neil Armstrong walked on the moon. Many of his music production techniques were also highly innovative. Bowie collaborated with Brian Eno on the album Low, creating new sounds with Eno’s AKS synthesizer and an Eventide Harmonizer. He was also an accomplished actor who starred in the groundbreaking sci-fi film The Man Who Fell to Earth, along with fantasy classics The Hunger and Labyrinth.

Suffice to say, David Bowie had a big impact on a number of us here at Engadget. The following are some tributes, anecdotes and memories of how his work affected us.

Roberto Baldwin

Calling David Bowie a musician or pop star is like calling Everest a mountain. His art rose above everything and glistened in a sunlight too powerful and air too thin for most to handle. And yet, that voice never spoke down to us from its position at the very edge of the earth.

Instead it welcomed everyone into his world of aliens, space and sometimes fear. It spoke to the odd. The kids that couldn’t figure out where they belonged. The adults lost in a sea of grey. The musicians, the artists, the dancers, the writers. When we needed someone, when we needed solace, we turned to Bowie or one of his many disciples: Lou Reed, Morrissey, The New York Dolls, Nine Inch Nails and on and on and on.

I keep thinking this is an elaborate piece of performance art. Bowie will rise again. Bowie will lead us out the depression of his own passing. It’s tough to imagine something as human, as earthly, as cancer taking him from us. He was our alien crooner. Can aliens even get cancer?

But he will lead us out of the sadness that’s surrounded his passing. His voice will tell us it’s going to be alright. His music will be our solace. The "Thin White Duke," "Ziggy Stardust," "Aladdin Sane" even the "Goblin King" will be blasting out of speakers and headphones for days, weeks, years, millennia. I’m devastated today. But tomorrow and the next day and the next and so on, I’ll be besides myself with happiness because I’m here and David Bowie made that possible.

Steve Dent

I think I played Suffragette City on a continuous loop for about a month when I was 17, disaffected and usually high. I also wore the grooves through Space Oddity, Ashes to Ashes and China Girl. Needless to say, I was a huge fan of David Bowie the musician, and that’s never changed.

I wasn’t that knowledgeable about the depth of his cultural impact, though, until I saw the David Bowie Is retrospective at the Philharmonie museum in Paris last May (it’s currently at the Groninger Museum in The Netherlands). Going through the exhibition, you realize how Bowie had an uncanny ability to predict and then define pop culture. The sheer quantity of his creative output was also mind-blowing. Through each of his phases — Ziggy, Major Tom, Alladin Sane, etc. — there wasn’t just albums, but highly inventive costumes, artwork, music videos, books and more. Bowie was very hands-on with all of those side-projects.

He didn’t do it all alone, of course. Bowie liked collaborating with choreographers, designers and artists, both well-known and avant garde. That includes a mime (Lindsay Kemp), Japanese fashion designer (Kansai Yamamoto) and fellow rockers Freddie Mercury, Mick Jagger and John Lennon. At the end of the exhibition, we were marveling at how different his phases were, and how inventive he was in each. As the Philharmonie put it, "He never bows to the expectations of the record company or sticks to a winning formula. For Bowie, that’s the moment to move on to something else."

Jon Fingas

I came late to David Bowie fandom — by the time I was old enough to appreciate him, I’d missed his Ziggy Stardust days and the ’80s pop era. I’d learn to like those, too, but for me Bowie was defined by the ’90s and how much he embraced technology.

Remember how Bowie was once again the coolest thing because of the drum-and-bass and industrial music in Earthling? How he even found his way into a video game, Omikron: The Nomad Soul? This was a man who refused to settle down as his hair turned gray, who wanted to push technological boundaries rather than retreat to what he knew. It’s fitting that his last album, Blackstar, was an out-there experiment uniting electronic music with avant garde jazz and rock. And it was a pretty damn good experiment, too.

I don’t want to beatify him. Everyone knows Bowie’s troubles with drugs, his fractured family life and the occasional album that didn’t blow everyone away. But it’s rare that you get an artist of any kind who stays vital and relevant right up to the very end. I’ll miss you, David.

Jessica Conditt

Even though I grew up decades after the launch of "Space Oddity," Ziggy Stardust or even "Under Pressure," David Bowie influenced my young life in incredible, unforgettable ways. I can’t hear his voice without soaring into a galaxy of memories: I’m in fifth grade and I hear the name, "David Bowie," for the first time. It’s uttered in reverence by a friend who is infinitely ahead of her time (and continues to be today).

I’m in middle school and it’s nighttime. I’m sitting in a car outside of an apartment complex with my dad, the volume cranked up as the tinny radio finishes playing "Space Oddity." Bowie croons, Ground control to Major Tom / Commencing countdown, engines on, and my young mind is blown. My dad’s name is Tom. Somehow, this song is about him. It’s a warm and heartbreaking moment, perhaps the first time I realize that, yes, even my dad is going to die one day. But it’s not morbid; it’s beautiful.

I’m a teenager, watching Jonathan Rhys Meyers make out with Ewan McGregor in Velvet Goldmine, a movie that parallels Bowie’s life and romances to such a degree that he’s threatened to sue the production company. I fall in love with the unabashed, unapologetic openness of the glittering, gaunt man that’s modeled after Bowie. I fall in love with parts of myself that I’m just beginning to understand.

There are plenty of smaller memories scattered throughout my personal Bowie galaxy — driving with friends and singing "Under Pressure" at the top of our lungs; dancing on my own to his later work with Trent Reznor; watching him play a convincing Nikola Tesla in The Prestige; devouring his new, gorgeous YouTube music videos. The best part is that I know this galaxy will never run out of stars. Though the man himself has left Earth, Bowie’s art will continue to shape my life in small, welcomed ways.

That’s the power of art — it has an unencumbered ability to exist and influence human thought for centuries after its creators have faded to stardust. That’s the power of David Bowie. Cheers.

Nathan Ingraham

I must admit that I’m not as familiar with David Bowie’s works as some of my fellow editors, but that doesn’t mean I haven’t been felt his massive influence on music on popular culture. Anyone who knows even a little bit about music history knows that Bowie’s work has influenced hosts of artists across a huge variety of genres and decades. As I was growing up in the ’90s and becoming deeply obsessed with music, two albums that blew my young mind away and remain favorites to this day are U2’s Achtung and Nine Inch Nails’ The Downward Spiral — two albums that simply wouldn’t exist without Bowie.

U2 visited Berlin in 1990 and 1991 to record Achtung Baby in the same studio that Bowie recorded his famous "Berlin Trilogy" of records (Low, "Heroes" and Lodger)in the late ’70s. It’s no coincidence that the band had the same producer on board, Brian Eno, the man behind some of U2 and Bowie’s most famed work. Say what you will about U2 now, but the band had a 15-year period where it released numerous all-time classic albums, reinventing its sound several times — that thirst for reinvention was directly influenced by Bowie, and the band knew Eno was a producer who could get them there.

Brian Eno speaking on Bowie’s death is amazing http://pic.twitter.com/GlY4wy75Ks

— Brandon Stosuy (@brandonstosuy) January 11, 2016

NIN mastermind Trent Reznor’s appreciation for David Bowie is well-known — NIN did a co-headlining tour with Bowie in 1995 in support of The Downward Spiral. That would have been my first concert, but for a variety of teenage reasons it didn’t come together. It’s a real shame, because I’ve since seen plenty of videos of Bowie’s performances on that tour as well as his onstage collaborations with Reznor on "Reptile" and a reworked version of "Hurt," and all those performances were fascinating.

I’ve dabbled in Bowie since, but for whatever reason the influence he had on some of my favorite albums wasn’t enough to push me fully into his world. I’m sad I didn’t appreciate him as much while he was alive — but fortunately, he’s left a huge mark on the music world and dozens of albums to explore. Now if you’ll excuse me, I think I’m going to spin up Low.

Timothy J. Seppala

I came to know David Bowie through the works of others. Growing up a ’90s kid, it was impossible to turn the radio on and not hear Nirvana’s unplugged cover of "The Man Who Sold the World" at least once a day. And then years after its release, I discovered "I’m Afraid of Americans," his song with friend Trent Reznor, while I was in high school.

It was an impromptu Rock Band party that’s perhaps my most vivid memory of Bowie, though. Friends and I were cramped into a small living room, holding plastic instruments and rocking out to "Suffragette City" in front of a modest Samsung LCD TV. I’m pretty sure I mangled the song’s drum parts, but when someone belted out Wham bam thank you, ma’am! it was hard to not smile despite my inability to keep rhythm.

He was my favorite artist’s favorite artist, and albums that’ve had such a huge impact on my life (specifically, Nine Inch Nails’ The Fragile and Reznor’s soundtrack work) almost assuredly wouldn’t have happened were it not for the trails Bowie blazed in his career. Even now, in the wake of his passing, some of my favorite artists are showcasing their love and respect for the man, and I’m discovering even more about how smart and prescient he was. It’s things like that which make me forever grateful for the indelible impact he made on music and culture. Thank you, Mr. Bowie.

@DavidBowieReal 💯 respect. #RIP #DavidBowie on HipHop. http://pic.twitter.com/ehDl8NQuYf

— DJ Whoo Kid (@DJWhooKid) January 11, 2016

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David Bowie fused science fiction and pop culture

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Filling plot holes in The Force Awakens

First Hickok45 was banned by YouTube. Apparently the ban hammer came down due to some cross-posting issues with the Don’t-Be-Evilers at Google+. Then he was back. Then they zapped him again. The good news: he seems to be back … Read More

The post The Great YouTube Ban: Hickok45 Explains It All For You appeared first on The Truth About Guns.

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The Great YouTube Ban: Hickok45 Explains It All For You

Netflix has tons of great content, but it can be hard to find it all if you don’t know what you’re looking for. The site’s algorithms show you what it thinks you want to watch, but these codes can help you venture outside the suggested depths.

Netflix fan site What’s On Netflix has a helpful list of codes that can reveal a multitude of narrow categories and category combinations that Netflix may not readily reveal to. To manually explore a category simple enter the following URL:

http://ift.tt/1Oj1bRU

Then, replace INSERTNUMBER with one of the codes from the site below. What’s On Netflix has dozens of numbers for very specific categories, including everything from B-Horror Movies to Anime Fantasy. Check out the full list at the source link below.

The Netflix ID Bible – Every Category on Netflix | What’s On Netflix

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These Secret Netflix Codes Can Reveal Tons of Hidden Categories

When you need a quick charge of your phone or other device, it’s easy to just connect it into any old untrusted computer or public charging station. The chance of malicious data getting through to your phone is pretty slim, but it still exists. Over on Node, they show off a way to make sure only power can get through the USB port.

You’ll essentially be disassembling a couple of different USB plugs and then reassembling them together to create a connection that blocks data transfers but allows powering. You’ll need some light soldering skills, but otherwise it’s a simple project to make for yourself. It’s probably not a necessity for most of us, but it’s a fun little thing to make either way.

How to Create a Tiny USB Condom | Node

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Make Your Own “USB Condom” for Added Security When Charging from Untrusted USB Ports

Link.
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Behind the scenes photos from The Force Awakens

A droid carrying important information is jettisoned on a remote desert planet. A mechanically inclined loner with a mysterious past finds it, setting them off on an adventure that will see the destruction of a huge weapon and more. Yes, The Force Awakens mirrors the original Star Wars, and J.J. Abrams thinks it had to.

“It was obviously a wildly intentional thing that we go backwards, in some ways, to go forwards in the important ways,” Abrams said in a podcast with The Hollywood Reporter. “Ultimately the structure of Star Wars itself is as classic and tried and true as you can get. It was itself derivative of all of these things that George loved so much, from the most obvious, Flash Gordon and Joseph Campbell, to the [Akira] Kurosawa references, to Westerns — I mean, all of these elements were part of what made Star Wars.”

Though Abrams admits to hitting all the tried and true beats from the original film, he thinks that pales in significance to everything else.

“I can understand that someone might say, ‘Oh, it’s a complete rip-off!’” he said. “We inherited Star Wars. The story of history repeating itself was, I believe, an obvious and intentional thing, and the structure of meeting a character who comes from a nowhere desert and discovers that she has a power within her, where the bad guys have a weapon that is destructive but that ends up being destroyed — those simple tenets are by far the least important aspects of this movie, and they provide bones that were well-proven long before they were used in Star Wars.”

Those bones, he feels, were necessary to get where this story had to be.

“What was important for me was introducing brand new characters using relationships that were embracing the history that we know to tell a story that is new — to go backwards to go forwards,” Abrams said “So I understand that this movie, I would argue much more than the ones that follow, needed to take a couple of steps backwards into very familiar terrain, and using a structure of nobodies becoming somebodies defeating the baddies — which is, again, I would argue, not a brand new concept, admittedly — but use that to do, I think, a far more important thing, which is introduce this young woman, who’s a character we’ve not seen before and who has a story we have not seen before, meeting the first Storm Trooper we’ve ever seen who we get to know as a human being; to see the two of them have an adventure in a way that no one has had yet, with Han Solo; to see those characters go to find someone who is a brand new character who, yes, may be diminutive, but is as far from Yoda as I think a description of a character can get, who gets to enlighten almost the way a wonderful older teacher or grandparent or great-aunt might, you know, something that is confirming a kind of belief system that is rejected by the main character; and to tell a story of being a parent and being a child and the struggles that that entails — clearly Star Wars has always been a familial story, but never in the way that we’ve told here.”

Abrams continues from there:

“And yes, they destroy a weapon at the end of this movie, but then something else happens which is, I think, far more critical and far more important — and in fact even in that moment, when that is happening, the thing I think the audience is focused on and cares more about is not, ‘Is that big planet gonna blow up?’ — ‘cause we all know it’s gonna blow up. What you really care about is what’s gonna happen in the forest between these two characters who are now alone.”

“Yes, the bones of the thing we always knew would be a genre comfort zone,” Abrams concluded. “But what the thing looks like, we all have a skeleton that looks somewhat similar, but none of us look the same [on the outside]. To me, the important thing was not, ‘What are the bones of this thing?’ To me, it was meeting new characters who discover themselves that they are in a universe that is spiritual, that is optimistic and in a world where you meet people that will become your family.”

It’s a great podcast, that’s well worth a listen. They talk about Abrams’ early career, why he didn’t want to be “The sequel guy,” how Rian Johnson contributed to Episode VII, how Abrams influenced Episode VIII, and more. Here’s the link again.

[The Hollywood Reporter]

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Contact the author at germain@io9.com.

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J.J. Abrams Explains Why The Force Awakens Isn’t Just a Carbon Copy of A New Hope

We pretty much loved Star Wars: The Force Awakens. The things this movie got right were so much more important than the things it got wrong. That said, it did get some things wrong. Allow us to elaborate.

So now that Episode VII has become the #1 non-inflation-adjusted domestic movie of all time in North America, it’s a good moment to be honest about it. In our movie review, we touched briefly on the fact that there were some flaws in the film that did seem to be a cause for concern, especially in the second half. But we didn’t want to go into detail about those until everybody had had a chance to see the film and chew it over. So here goes.

Warning: Major spoilers ahead…

So first off, just to reiterate—for the most part, we loved this film, and it even improved on subsequent viewings. But yeah, there are some issues.

General Organa

First off, the biggest one is probably Leia. Even in a movie where Luke Skywalker gets a minute of screentime, Leia feels notably underserved, to the point where I wondered if a bunch of her stuff got cut at the last minute. (The thing where she hugs Rey, whom she’s never spoken to, and ignores Chewbacca, kind of supports that idea.)

In The Force Awakens, Leia gets a handful of snarky lines towards her ex, Han Solo, but is mostly just one long stoic reaction shot. Whatever she thinks of her brother running off and leaving the galaxy to die, we never really find out.

But worst of all, she and Han Solo have a couple of scenes that are like the executive summary of a couple talking about their relationship. It’s something I’ve seen a fair bit in movies lately: the scene where two people talk about their feelings, but they’re just summarizing the bullet points. The biggest Han-Leia conversation is half as-you-know-Bob exposition, and half quick-and-dirty, on-the-nose relationship synopsis. At no point do Han and Leia feel like people who once loved each other, had a child together, and have not seen each other in years.

This matters partly because Leia is a kickass character in her own right, and getting to see her as a general was one of the selling points of the film. And it also matters because the Leia-Han relationship was the emotional core of the original trilogy, so it’s weird to see it get such short shrift here.

But Leia getting shortchanged also saps a bit of the oomph out of the film’s climax. Not a lot, but some. Han Solo going to confront his fallen son Kylo Ren works on its own terms, because we’ve seen enough of Han and Kylo in the movie to get that Han has become kind of a sad reflection of who he used to be, and we know that Kylo is struggling with his feelings about his father. But Leia is the one who sends Han to talk to Kylo, and a big part of her scenes is selling us on the idea that Kylo Ren’s father (and not his mother) is the only one who can reach him now. Leia has to know that she’s probably sending Han Solo to his death—or at least, that it’s a likely outcome—and if the scenes where she asks him to do that carried more weight, then it would add more power to the Han-Kylo meeting.

Starkiller Base

And Leia, by dint of her status as leader of the Resistance, also participates in the film’s other biggest shortfall: the whole Starkiller Base storyline. At this point in the film, I’m invested enough in Rey, Finn and Kylo that their arcs paying off feels like enough of a culmination to the film, and it’s okay that Starkiller Base is kind of a forgettable contrivance.

But Starkiller Base absolutely does not carry any weight in the film. When it destroys the New Republic, this is pretty much the first we’ve heard of the New Republic in the movie, and I kept wondering if Jeet Heer had just been atomized or something. General Hux’s speech, coming with no context or setup, is the most unconvincing, random thing in the film, and I look forward to the “remix” videos where he’s shouting about unfair parking tickets and that one Shake Shack where they messed up his onion-ring order because goddamnit, he’s a General and onion rings are a prerogative of his rank.

I don’t care about Starkiller Base. At no point do I believe it’s going to destroy the bunker where Leia and her friends are hunkering down—and apparently neither do they, since they don’t try and evacuate or anything. The mission to destroy Starkiller Base is way too straightforward, and its weakness is glaringly easy. Ken Leung from Lost points out one vulnerable component that the base must have, Finn knows exactly what he means and where it is, and it’s the size of a city to boot.

And the mission goes off more or less without a hitch—both Death Star attacks in the Original Trilogy were disasters, only saved by a last-minute miracle. They even have Admiral Ackbar there in the room, so they oughta remember how it’s supposed to be a trap. [Edited to add: Okay, people in comments are pointing out that the mission does fail at first. But not in a way that feels like “all is lost.” And we cut away from Poe and the X-wings for a long stretch of time, during which we’re apparently not supposed to think they’ve all been destroyed.]

When Starkiller Base gets blown up, I feel basically nothing. (By contrast, Nero’s weapon in J.J. Abrams’ first Star Trek does actually feel menacing, because we actually see it destroy Vulcan, a place we have a connection to, which we’ve spent some time on in this film.)

Maz Kanata

And then there’s Maz Kanata, the pirate/bartender/Force-sensitive ancient alien who’s basically Guinan from Star Trek: The Next Generation. We know that Maz originally had a bigger role in the movie, but they didn’t really know what to do with her after her bar is destroyed. Actually, it sort of feels like they didn’t know what to do with her, in general.

Maz feels like kind of a non-entity. She’s there to help our heroes out, dispense homespun wisdom, and urge Rey to embrace her destiny via Anakin’s old lightsaber. She’s the least memorable character in the film, although I did keep wondering why she has a giant statue of herself outside her bar. She clearly sympathizes with the Resistance—her one memorable speech is about how Han Solo should stop running and join the fight—but she’s not helping them herself, and she probably knows her bar is full of First Order sympathizers, that she caters to.

Part of the problem with Maz is that she’s the film’s Yoda, but she’s also the film’s Lando Calrissian. She’s both the wise teacher who is on the side of good and the morally gray, neutral rogue who doesn’t want to pick a side. I guess. She’s a few archetypes cobbled together, but none of them actually sticks.

The Force

And that brings me to another problem with The Force Awakens—even though the Force is right there in the title, and we’re told a few times that the Force is coming back after a period of quiescence, I don’t really feel the Force very much in this movie.

That is, I don’t really get a ton of the feeling of mysticism and awe that I associate with the Force in this film, as compared to Empire Strikes Back or A New Hope. The weird poetry of it. And some of that is down to the fact that Maz Kanata is this movie’s Yoda or Obi-Wan, and she’s kind of an empty vessel.

I absolutely buy Rey becoming strong with the Force, because she’s clearly got an innate ability and every time she encounters Kylo Ren he shows her more stuff. My problems with the Force in this movie are not suspension-of-disbelief issues, or logistical ones, at all. But I didn’t have any “holy cow” spiritual moments involving that mysterious energy field that binds all living things together. There’s no “that is why you fail” moment in this movie.

Some of the lack of awe towards the Force in the movie could be down to John Williams’ music, which is great but never has any of the “wonder” moments that he layers into a lot of the first two moments.

In fact, after I saw Episode VII for the first time, I had a moment of wondering if the Force was just such a Baby Boomer zen-and-the-art-of-motorcycle-maintenance hippie concept that no film-maker born since 1965 could really encapsulate it. But I also hope that Rian Johnson finds a way to bring more of that awe and strangeness into Episode VIII, once Luke Skywalker actually opens his mouth. If Johnson talks to his friend Shane Carruth, who nailed some of the feeling of unspeakable connectedness in Upstream Color, we might be getting somewhere.

Captain Phasma

There’s a third female character who sort of lacks oomph in this film. But I don’t hold that against The Force Awakens. Captain Phasma, Finn’s commanding officer, was clearly meant to be a minor character who shows up in a couple of scenes and then Finn turns the tables on her in a funny moment before tossing her into a garbage compactor. And then they cast Gwendoline Christie in the role, and decided to upgrade her to major supporting character after all—Christie did a lot of press for this movie, remember.

So if you just think of Phasma as a slightly upgraded version of “hapless stormtrooper who gets bullied into turning off the force field,” it’s not a big deal. The fact that she turns off the force field for them is just part of the larger problem of Starkiller Base being kind of a pushover. On the other hand, if Episode VIII sees the return of Phasma—as it apparently will—she’ll have a bit of an uphill climb to regain her credibility.

Other stuff

There are a few other issues. Supreme Leader Snoke is another character who feels more or less forgettable—another CG mo-cap baddie with a generic “villain” look—and even the Vatican felt like Snoke could have been a more compelling villain. But he’s clearly meant to be in the background in this film, much as the Emperor was in A New Hope, and he’s got lots of chances to shine in the next two films.

There’s some choppy editing in the movie, which seems to be the result of last-minute cuts—Rey and Finn swapping Poe’s jacket back and forth in the final act being one of the clues.

It’s weird that the guys from The Raid are in this movie and get basically nothing to do.

And as usual with a J.J. Abrams film, some crucial stuff isn’t explained in the film, that probably should be. We had questions after we saw the film, and in some cases the answers are easy to find online. But R2D2 suddenly powering on at the end, and why Luke doesn’t want to be found but left a map to find him, are pieces of information that should be dropped into the film somehow. Poe randomly deciding not to look for BB-8 on Jakku, but instead just bugging out, is also kind of random.

And finally, there’s the fact that The Force Awakens so closely mirrors the structure and storyline of A New Hope, down to all the main beats. (Secret document hidden in a droid on a desert planet, escape in the Millennium Falcon, meeting a mentor figure who later dies, giant super-weapon blows up, etc.) That didn’t really bother me, because it was always in the cards that this film would be sort of a “greatest hits” of Star Wars, and these beats were remixed enough that I was into it.

Bottom line: As I said in the beginning, the things The Force Awakens does right are much more important than the things it does wrong. In particular, it makes you care about its brand new characters, as much as you ever cared about Han Solo or Luke Skywalker.

Additional reporting by Germain Lussier

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Charlie Jane Anders is the author of All The Birds in the Sky, coming Jan 26 from Tor Books. Follow her on Twitter, and email her.

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Everything That’s Wrong With Star Wars: The Force Awakens