hey mister dj

Via Waxy, we are directed to this preternatural, surreal algorithm that rather expertly, uncannily will make a mashup of any number of songs from a group-watch streaming service, RaveDJ generating a set-list in the spirit of our friends at Hood Internet are presumably doing the old-fashioned way. It really shows its surprising competency with mixes like Gangnam Style crossed with MC Hammer’s Can’t Touch This or The Eurhythmics’ Sweet Dreams and Seven Nation Army from White Stripes. Browse the submissions or create your own and share. Always of the opinion that lamentful number from My Fair Lady and David Bowie’s song about getting to the church on time flowed into each other and had complementary energy so I gave it a whirl, our disc jockey creating “Why Modern a Love Be More Like a Man” but as the lengths seemed a little incompatible and needs a bit more refinement, please instead for now check out this preview of one of the mashups cited above to see its full virtuosity.

a smattering of spots

Our thanks to Fancy Notions for referring us to this reel of cartoon commercials from the animators at Storyboard, Incorporated, the studio of John Hubley (*1914 - †1977, creator of Mister Magoo and under the employ of Disney painted backgrounds for Snow White, Fantasia and Bambi as well as director for the animated adaptation of Watership Down) with a cavalcade of 1950s advertising—no product endorsement intended or implied.

conspicous calculation

Addressing the lexical weight of numeracy and the outsized weight we attribute to it as we do with all jargon from coding to spellbinding, we really enjoyed the panel discussion between host Helen Zaltzman and guest Professor Stephen Chrisomalis featured on the latest episode of the Allusionist on numbers and notation. 

We especially appreciated the disabusing reminders about bias, audience and the recent dominance of Indo-Arabic numerals (see also) and the vestigial systems, like Roman numerals, that accord prestige and the fact that I, V, X, L, C, D, M were not immutable from Antiquity until now with medieval abbreviations sometimes reflecting the Latin name or using Claudian letters and that the symbols were never meant to denote centum or mille but rather that half X is V and half C is L, and so on.

6x6

slough off old skins: the rise and demise of an Internet Onion—via Kicks Condor  

posture pals: a gallery of awkward, outstanding stances  

gravy boat: kitschy vintage table settings  

a little pick-me-up: the lovely Flowers for Sick People project by Tucker Nichols—via Nag on the Lake’s Sunday Links  

news at eleven: screen grabs of 1990s reporting captions  

more like a simile: an experiment searching the web with AI contextualised natural language—via Web Curios

what women will do next to distinguish themselves, we wonder!

Via the always diverting Messy Messy Chic’s internet meanderings, we are directed to an 1871 American newspaper article about a certain “female in Quebec, the other day, perpetrated a ghastly joke, mocking death in His own domain by lying down in a hearse and smoking a pipe” having engaged a driver and funeral carriage to parade her through the city and enjoy the view. Though hoping that the reporting was accurate and this unnamed individual continued to make a spectacle of herself, the story goes on to editorialise that had this exhibition been made in the United States “our neighbours to the north would have made it the subject of very strong animadversions.” This lovely word—which first leads to the eponymous antiprelatical tract from John Milton upon the “Remonstrants Defence Against Smectymnuus” (none of these words register)—comes from the Latin phrase animum advertere meaning to turn the mind towards but has come to mean the opposite in aversion, critical and censorious. Smectymnuus was the nom de plume of Puritan clergy—an initialism properly conjugated—for whom Milton wrote as an apologist and hoped to redeem in the eyes of detractors.

take a sad song and make it better

Sharing this anniversary with many other events of great pith and moment, we learn from our faithful chronicler that not only on this day did Albert Niemann first synthesise cocaine at the University of Göttingen, also on 30 August 1968, Apple Records released one of the Beatles’ most iconic tunes as a single in the United Kingdom (with Revolution on the B-side) but moreover the song was written as a consolation to the then five-year old Julian Lennon (originally Hey Jules) over the impending break-up of parents’ marriage, Cynthia and John Lennon, delivered by Paul McCartney during a sincere, surprise visit to mother and son to check on their welfare. My Behind the Music backstory assumed it was about cheering up Saint Jude or Jude the Obscure. The featured performance is from early September, two weeks after its premier, the band appearing on Frost on Sunday.

6x6

headgear: Languagehat is no longer neglecting the latter portion of its remit 

on seeing the 100% perfect girl one beautiful april morning: a pair of short stories from Rysuke Hamaguchi adapted for film  

aggregate accessory fruit: the curious, circuitous route of the misnamed garden variety strawberry  

like astrology for businessmen: a look at the Myers-Briggs personality test 

strokenteelt: see strip cultivation at work in the Netherlands 

erm: a discussion on intonation and a hummed “I don’t know”

live at five

This 1979 industrial (as in in the trade) theme music anthology really revs one up for the network news, coming in strong with the familiar-sounding opening track by Craig Palmer Energy, a masterpiece of the genre. There are multiple volumes of Palmer’s works, both for syndication and for one-off events, though we were unable to find out more about this rather prolific and pervasive composer unfortunately—though not everyone wants a biopic and we can appreciate letting one’s works speak for themselves—that formed the soundscape of televised reporting and sports coverage (see also) in the 1980s. More bracing openings and interstitials coming up in the panel below.