Filed under: Action, Casting, Paramount, RumorMonger, Newsstand, Comic/Superhero/Geek, War

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Google this week took another step toward getting its own Android-based handset, the Nexus One, on as many U.S. carriers as possible. Originally released on the T-Mobile network, the device was added to AT&T next, and then Verizon. Sprint said this week that it will become the fourth major carrier to support the Nexus One — which should help boost the lower-than-expected sales numbers of what many feel is the best Android phone on the market.

Google Buzz is one of those services that folks either love or hate. Those in the pro-Buzz camp will love the new Google Buzz widget, which can be placed on the home screen of any Android phone, where users can post text and photos to it with a single tap. The widget also supports geolocation. Posts submitted through it are uploaded in the background, and as such do not impact performance nor usage of the phone.

• The 3 Best Things I Saw at SXSW Tech Insider
• Lessons in Phone Marketing, or Why the Nexus One Is Sucking Wind Tech Insider
• Why Microsoft Should Allow Third Parties to Sell WinPhone Apps Tech Insider
• The Nexus One Needs More Hype Tech Insider

And the Android OS may be coming to a TV near you! Google, Intel and Sony have entered into a partnership to create Google TV, a venture aimed at bringing social networking into the set-top TV box space. Google TV will be based on the Chrome web browser, which doesn’t currently work with Android. Launch is slated for this summer.

Do you happen to have plenty of trouble trying to get out of bed every morning? Well, this is where the Twist Alarm Clock comes in handy – it will only shut up once you managed to solve the relatively simple math problem displayed on the screen. There are two displays and an equal number of rotatable parts which will work in tandem to present you with a math problem each morning, where you will need to provide the right answer before it keeps quiet. Talk about being forced to use your brains the moment you open your eyes! It is currently available in Japan only for $30 after conversion, although we’re pretty sure that you can import this puppy if you want something totally rad for the bedroom.

Source: Crunchgear
Cool Gift Idea: Digital Picture Frames, check out our reviews.
[ Twist Alarm Clock needs you to use your brains copyright by Coolest Gadgets ]

DIM doesn't get confused when you store the icon positions at one screen resolution and then restore them at a different screen resolution. In other words, if an icon is at the bottom right corner of the display when the icon positions are stored then that icon will always be placed at the bottom right corner regardless of the screen resolution. There's only one application that I know of which does that, but they want money to do it. Other applications/scripts allow you to save multiple icon positions at different screen resolutions. That's fine if you want to adjust your icon positions for each screen resolution you use. My question is why? You got a Mac sitting in front of you, let her do it.
WHAT'S NEWVersion 2.0.1: Release notes were unavailable when this listing was updated.
REQUIREMENTSMac OS X 10.4 or later.
PRICEFree
DEVELOPERG. J. Parker
DOWNLOADS3520
DOWNLOAD NOW (233 K)
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Filed under: SXSW, Interviews

Continue reading SXSW Interview: Rhys Ifans of 'Mr. Nice'

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Photographblog published a Canon Digital IXUS 210 camera Review Quote from review: “The Canon Digital IXUS 210 joins the small but growing band of cameras that offer a graceful touch-screen interface rather than a cluttered collection of external contro...

• Automatic Web Importers have been updated.
• Fixed a possible crash from collapsing a group in the sidebar.

If you’re a photographer and use a Mac, chances are you’re using Lightroom or Aperture. Probably Lightroom, since Aperture is less popular among pros — and the latest version seems to be an acknowledgment of that. The features added in version 3 are clearly intended to draw casual shooters using iPhoto to the paid image editing honey pot. Since so many of these amazing new features are direct side-loads from iPhoto, it smooths the process and makes the program as a whole more approachable, though whether existing Aperture users will find them helpful is questionable. Brushes, on the other hand, are a welcome addition to any photographer’s toolset, and depending on how dedicated you are, may be worth the price of admission.

Invasion of the iPhoto features

As long as I’ve been using Aperture, I’ve considered it a processing application. Its photo management was troublesome here and there, and iPhoto had the best ways of showing off your shots, but I dealt with it since maintaining two separate libraries of the same photos would be disk space suicide. I’ve only used Lightroom a little bit (and a version or two back) but all my friends say that it just has a better workflow for serious photo work — importing a couple hundred shots, scrubbing through them, doing the necessary adjustments, and outputting to the necessary format. Not that I have trouble doing that in Aperture, but apparently it’s faster and better in Lightroom.

Confronted with such a fearsome opponent, Apple decided that it would be better to flank than to risk a frontal assault. Hence the expansion of Aperture’s incorporation of iPhoto features Faces and Places. I question their relevance in a photo processing application, but given Apple’s tendency towards coalescing functionality, I’m guessing that iPhoto will eventually be Aperture: Gimped Edition, and the only real choice for organizing and messing with large numbers of photos will be Aperture.

There are some kinks to be worked out. Faces plainly doesn’t work. After it spent literally five hours going through my photos (about 1000 per hour), this is what it has come up with:

No, it didn’t have a lot to go on (I hadn’t “trained” it much yet) but really now. After giving it a few more pointers on what I looked like, it still mistook a three-year-old tow-headed girl, my friend Monica (who is Indian, and in a wedding dress), some E3 booth babes, and Casio president Kazuo Kashio for pale, bearded, Devin Coldewey. The cork board background is jarring and the interface for going through your shots is terrible. I realize this is a technology still being perfected, and that is why I am wondering: what is it doing in my RAW editing program?

Places is useful if you have a geotagging camera (still rare) or want to spend a few hours dragging and dropping stuff onto the map. It can be fun, actually, if you take a lot of pictures of your friends, and want to drag and drop this or that night onto the location you went to; it’s like creating a different kind of album (“Linda’s Tavern”), and indeed you can make a browsable smart album from locations. If you’re like me, you won’t feel complete until the photos are more or less where they were within the city, and not all grouped in a single pin, smack in the middle of the city. This could have some promise, but with a backlog of several thousand shots, getting a library up to date in Places is a task I wouldn’t wish on my worst enemy.

It’s a mistake to judge Faces and Places by simply saying “well we were fine before them,” because it may just be that we found ways of working in the old system of organization (Project>Folder>Album) that approximated what these new features do. But I don’t think it’s wrong to say they just don’t really do much, and feel out of place to boot. You have to work at them, or shoot for them, in order for them to really be worthwhile. Still I have to give credit where credit’s due: if you just consider Faces and Places new columns to organize by (like rating or date) then they’re worth their salt. As flagship features, though, they’re duds.

Lastly, the slide show thing. It’s like finding a trout in the milk. Not that it doesn’t work — it works as well as iPhoto’s thing, and I suppose it’s better to have than not. It’s just a little weird to have a sort of… aftermarket feature popped in there next to the serious editing tools. Its little presets are, like in most Apple programs, 25% solid, 75% fluff. Who in the name of all that is holy is going to pick “Shatter” as their slide show transition? It’s ghastly.

The new features are very well explained in little videos accessible through the “Welcome” screen, which will be handy for new users — if they can find the screen after they close it (it’s in Help>Welcome to Aperture).

The good stuff

So if the iPhoto features are icing, the actual cake is the RAW editing, adjustment tools, and user interface. Let’s start with what I would say is the best new feature: Brushes.

You can see a pretty thorough overview of the feature at Apple’s site, but the gist is that it allows you to apply certain effects in limited areas using a brush of adjustable size and intensity. That’s great! I can’t count the number of times I’ve vacillated between two versions of a photo where an adjustment necessary for one part ended up blowing out another, or I just wanted to bring out the color in the eyes but not in the background. A lot of fiddling could usually approximate the effect I wanted, but it would be so much easier to just use a brush. I’ll be using the hell out of this feature, and it’s perhaps the only real step Apple took against Adobe in this update.

(combination Brushes and Help Video screenshot)

The brushes are non-destructive, like any of the dials and curves you can play with in the adjustments panel, so you can feel free to experiment, layer, and try out different effects. One thing I often have to do when shooting review shots is emphasize the color of LEDs, but if the subject is well-lit, the LEDs are going to be barely visible. No problem; make a little brush, add in a little contrast right there, bump the saturation just in the one area, and boom, it sticks out like a sore thumb. Brushes are useful for lots of little things like that.

The new full-screen browser is handy but not really a revolution. They’ve added the ability to get around your library a little more, which is nice, but it’s not as streamlined as the regular browser, which is always accessible by a single keystroke. The fullscreen presentation has definitely been improved, however, and when showing off photos to friends or clients, it’s a better option than either the plain editing window or a slide show.

The preset adjustments, I think we can agree, are being blown way out of proportion. These are the same kind of “professional adjustments” that you have been able to apply on cheap point-and-shoots since the beginning of time. There are a few quick adjust things like high-contrast black-and-white or exposure +1 that are nice to have previews for (the live preview window is handy), but let’s be honest, these are just filters. I’d like to be able to say that they’re carefully adjusted so you won’t see weird color effects, blackouts, or blowouts, but the fact is every one I tried looked cheap and overdone. The others, like white balance and so on, seem pretty redundant considering the actual controls for adjusting those aspects are mere pixels away in the same window.

Click to see it larger. You can’t really tell here, since this photo isn’t very high contrast, but in several of the other shots I tried this on, the vintage look was really purple, cross-processing was really green, and toy camera pushed the contrast way too far. Subtle adjustments these are not.

The good news is that people new to the program might try a couple, see that they were created by dragging curves and color bars around, and then make their own. I’ve had my own “base” adjustment for years now, which was just as easily accessible and just as customizable. Putting together a “look” for a shoot using this feature might be easier now than before, but it’s still just a toy at this point.

The ability to have multiple libraries is nice; splitting work and personal stuff would be my move, so that if a meteor crashed into TC HQ (or, more likely, I’m fired for insubordination), I could free up a couple gigs in one clean sweep. It’s also convenient for backing up and sharing; “here’s my whole ‘wedding’ library, feel free to do what you like with it” rather than “here’s a folder full of RAW files.”

A quick note

Just a PSA: installation of Aperture 3 took ages. Plan on losing at least a working day to 100% processor usage as it converts your library, searches for Faces, and reprocesses your RAW files with the new profile. I’m not holding this against Apple (it’s a LOT of data to sift through) but it’s just something to be aware of.

Conclusion

Aperture is still a great program, in my opinion, and the budding photographer would be a lot better off with this than with iPhoto if they’re planning on doing anything more than collecting snapshots. I’ve gotten used to Aperture’s workflow and they haven’t changed it much in 3, in fact they’ve provided a couple serious improvements with Brushes and potentially Places and Faces — you know, if you’re into that kind of thing.

The trouble I see is that Aperture, once a rather single-minded program, is being diluted with features that have nothing to do with its core functionality. Why not have a new program, called “Collection” or something, that hooks into all your libraries, allows for creating robust slide shows, exporting directly to Facebook, and all that sort of thing? Putting all this junk into Aperture is doing to it what Apple has done to iTunes: once a sleek and straightforward program, it has now grown bloated beyond comprehension; it’s a bit like seeing a once-great fighter gone to seed. I have more of an attachment to Aperture than to iTunes, but if Aperture 4 continues along the vector indicated by Aperture 3, you can consider me a Lightroom conversion.

Give Aperture 3 a 30-day trial for free here. $199 to buy, $99 to upgrade.

Musicians, DJs and authors to reveal their favourite hangouts

Have your say on the Travel blog

HiFi is the best rock'n'roll bar in NYC.The room is covered with empty album sleeves and the juke box is hands-down the best in the city – I believe there are about 3,000 albums on it, so you can't complain about them not having your song. There is a fantastically affordable happy hour and a great local crowd. Like the rest of the East Village, it can get a bit much on weekend nights, but most of the time it's my favourite bar in town.
· 169 Avenue A, +1 212 420 8392.
Craig Finn, lead singer of the Hold Steady

The entrance to the Pegu is an unassuming doorway on the south side of West Houston Street. It's only when you are up the stairs that the glory of this place hits you. It is like going back to the great clubs of the 20s, when the staff were pretty and jazz and cocktails ruled. On a recent visit, two amazing Django Reinhardt-style guitarists were swinging through 30s classics. Cocktails are taken seriously here – the art of proper, classy drinking is almost a motto. At the weekend it can get pretty busy as it is becoming the "in" place.
· 77 West Houston Street, +1 212 473 7348.
James Pearson, artistic director, Ronnie Scott's, London

It was a balmy night in September when I visited Po' Monkey's juke joint. It's a ramshackle hut powered by a single cable in the tiny town of Merigold, deep in the Mississippi delta. A poster on the door warned: "Bring your liquor inside but not your beer." The walls were cluttered with posters and age-old postcards, while toy monkeys swung from the rafters. It was low lit – smoky but inviting, with beer and whiskey flowing freely. Terry "Harmonica" Bean took to the tiny stage, elbow to elbow with the crowd, and delivered a mind-blowing, foot-stamping performance that will stay with me forever. Delicately soulful cries came from his ageing gruff voice, while stupendous bluegrass melodies oozed effortlessly from his antique steel guitar. This was raw blues at its authentic and spine-shivering best.
· +1 662 514 7488, 15km from Cleveland.
Dan Hipgrave, co-founder of Original Music Company (originalmusictravel.com), which launched this month and specialises in music-themed holidays

The Spirit Store in Dundalk, County Louth, is on the edge of town beside a small harbour. There's a small, friendly bar downstairs which opens around 4pm, but it is the live music upstairs that is the main draw. You would be hard-pressed to find anywhere as welcoming to an artist and more genuinely music-driven in its programming of events. That's why I keep going back there to play, and why many other artists who have outgrown the 120- or so capacity venue keep returning. So many venues and promoters are about the money but Derek Turner, who books the music, is driven by something much more.
· +353 42 9352697.
Duke Special, musician. His DVD box set, The Stage, A Book & the Silver Screen is out now

Not exactly a venue, not exactly a bar, entrance to Trishas/The Hideout/that door on Greek St (as it is variously known), is obtained by boldly knocking on what appears to be the entrance to a flat above a shop, striding through a starkly lit corridor and down a flight of stairs, before mumbling an explanation to the owner as to why you don't appear to be in possession of a membership card – having accidentally put it through the washing machine normally does the trick. Inside, you'll find a cupboard-sized, candle-lit cavern which can be hired out for private music showcases. But stumble in unannounced after hours on a weekend and you might also find a doo wop or jazz band sandwiched into the corner between the usual crowd of transvestites, metropolitan hipsters and veteran Italian locals.
57 Greek Street, Soho, London.
Krissi Murison, editor, NME

I first played at this blink-and-you'll-miss-it shed in the tiny village of Brawby back in 1998. It only held 64 people and we scraped our legs on the front row's knees. It has since moved to Hovingham village hall, though it retains its name. The man behind The Shed, Simon Thackray, has presented events from the Fish and Chip Van Tour with a trombonist, to mixed media knitting installations – saxophonist Lol Coxhill playing free jazz in a skip to coach trips for folks in knitted Elvis wigs touring sites of Elvisian interest in Ryedale. My own band, Hank Wangford and the Lost Cowboys, started a tradition of Christmas gigs at The Shed, where we play morose songs and have a riotously miserable time. The Shed was the inspiration for my village hall tour around Britain, which I am currently writing up as a book. And, after 235 villages, The Shed is still the loony best.
· 01653 668494.
Hank Wangford, writer and musician. His CD, Whistling in the Dark, is out now

For me, the greatest gig of 2009 was at A38, a huge old ship that used to lug coal up and down the Danube. The lower deck is now a state-of-the-art live music venue, but bits of engine room equipment are still there. Even though the boat is held down in dry dock by 100 tonnes of concrete, the bottles still jingle on the shelves of the bar when the parties get wild. The booking policy is great – they've had cutting-edge electronic artists such as Ikonika, Dorian Concept and Foreign Beggars play recently. And nothing compares with the signature dish of the restaurant on the upper deck: rooster stew, complete with the crest and testicles of the bird.
· +36 1 464 39 40.
Mary Anne Hobbs, Radio 1 DJ. Her show is broadcast on Thursdays 2-4am

Wild At Heart is a whisky-soaked, no-nonsense rock'n'roll joint in Berlin's old anarchist district, Kreuzberg: a seven-nights-a-week venue painted blood red, crammed with Elvis memorabilia, Hawaiian gods and a lifetime's supply of hard liquor. For 15 years it has presented bands from all over the world – mostly punk, rockabilly, psychobilly, 60s garage and surf. I spent a memorable evening there talking to TV Smith from the Adverts and another with Wreckless Eric, both of whom started out with punk label Stiff Records in 1977, and I've played there with my band, the Flaming Stars. The music's loud, but the welcome is friendly, and the club also runs the Tiki Heart cafe and clothes shop next door, where you can eat, drink and kit yourself out in a spectacular variety of rock'n'roll clobber.
· Wienerstrasse 20, +49 30 610 747 01.
Max Décharné, singer in the Flaming Stars and author of A Rocket in My Pocket: The Hipster's Guide to Rockabilly, to be published by Serpent's Tail in June

Mesa de Frades in Alfama, the oldest district of Lisbon, is the sort of place you dream of hearing fado, the traditional soulful Portuguese music. A tiny converted chapel with tiled walls, it is full of locals and quality performers booked by owner Pedro Castro, a great guitar player. You can come for the music, which starts late – around 11pm – or book a table and come for an excellent dinner beforehand. A couple of years ago I sat here watching Carminho, the amazing young fado singer who is now the talk of Lisbon. When the music starts, the doors are shut to enclose the tiny performing space. It's what fado in Lisbon should be, but so rarely is.
· Rua dos Remedios 139A, +351 91 702 9436, mesadefrades.com. Booking is essential.
Simon Broughton, editor of Songlines magazine (songlines.co.uk/musictravel)

In the heart of Turin, off Piazza Statuto, you'll find the best of all worlds: from Wednesday to Saturday Il Folk Club plays host to Italian and international jazz, folk and world musicians. How this Italian institution – legendary in Turin for over 20 years – has remained generally unknown to travellers and music junkies outside Italy is a mystery. Alongside its regular programme, Il Folk Club is also the launching point for Radio Londra, a monthly mini-festival which fuses British musicians such as Jim Mullen, Kit Downes, Brandon Allen and Quentin Collins Quartet, with local stars such as Mario Pozza, Enzo Zirilli and Dado Moroni. The bar is simple – one central room with space for about 150 people, exposed brick walls, and a stage – so the focus is always on the incredible music.
Via Ettore Perrone 3, Turin.
Sam Sollai, buyer and events coordinator, Ray's Jazz at Foyles

This little neighbourhood bar used to have a green door with panes that rattled when you opened it, but it has now been replaced with something more solid, partly to keep the sound in. It's run by Mar and Nacho, both dyed-in-the-wool culés (Barcelona supporters), and nights there are long and loud. You can hear Sam Lardner, an American resident who plays his own fusion of flamenco and bossa nova, or wonderful classical and flamenco guitarists like Daniel Figueras and Pedro Javier Hermosilla, or the Covers Project, with frontman Philip Stanton. The eating and drinking are delicious too – Galician-style octopus, traditional meatballs, pimientos de padron (small green peppers), and wine for not much more than a euro a glass. A great night out in the Alta Zona.
· C/ Ivorra 24, Sarria, Barcelona, +93 203 4988.
Rupert Thomson, author living in Barcelona. His latest book, This Party's Got to Stop, will be published on 8 April

Salta, in north-west Argentina, is well-known for its folk music heritage. This has given rise to the creation of pena, which roughly translates as a place where musicians and music lovers come together. Seven nights a week you can experience this at La Casona. The venue's five colonial rooms are filled to the brim with musicians, professional and amateur, folk, jazz and others, locals who come down from the Andes bearing pan pipes and drums, and some foreign visitors, all coming together to jam the local tunes. As a musician, I found great comfort in the fact that this kind of place exists in the world. And of course, many people come simply for the music.
· La Casona del Molino, Caseros.
Lizzie Ball, violinist and singer. She will be performing – and launching her album – with Machaca at La Linea Festival in the Purcell Room on London's South Bank on 27 April

The first time I asked a taxi driver to take me to Havana's Salón Rosado de la Tropical back in 1989 he said it was a place for Cubans, not foreign tourists – and certainly not lone women – and I'd better watch out as it could be rough. He'd obviously never been inside this mecca of Cuban dance music, where all the top bands play regularly, testing their latest material in front of the sexiest dancers on the island. In Cuba, most music venues are geared to tourists and too expensive for ordinary Cubans, who are often not allowed in anyway. Not so the Salón Rosado. This is the closest you can get to hanging out with a Cuban clientele. Dedicated to the memory of Beny Moré, Cuba's touchstone band leader of the 1950s, it started out life a Spanish cultural centre at the beginning of the 20th century. These days there's a balcony reserved for tourists overlooking the dance floor where, if you're lucky, you may rub shoulders with the musicians as they gather for the gig. Although today reggaeton and hip-hop dominate street tastes, Salon Rosado continues to offer a window on to the latest music scene and is a dancer's dream.
· Avenida 41 esq. 46, Nicanor del Campo, Marianao, +53 7 203 5322.
Jan Fairley has been travelling to Cuba since 1978 and is writing a book on women and music in Cuba

Leading Japanese venue Liquid Room has been going for about 15 years and hosts weekly bands and DJs from Japan and around the world. The website may say it closes at 12, but the last time I played there, as The Orb, they didn't let us out till 6am. There's a beautiful cafe upstairs and the friendly enthusiasm of Tokyo clubbers has to be experienced to be believed. The last time I played there I took a bag of Space Dust (the sweet!) which made me very popular.
· Higashi, Shibuya-ku, Tokyo, +81 3 5464 0800, liquidroom.net.
Alex Paterson, co-founder of The Orb and HFB, his new project. HFB's first three EPs are available from 12 April on Malicious Damage Records

Lagos is not your classic tourist destination; it's a prohibitively expensive city of 14 million people and a crime record to frighten even the toughest traveller. But Nigeria's notorious capital does have one musical landmark worth going the extra mile for: the New Africa Shrine. It's named after the legendary club run by the late musical activist Fela Kuti, which was razed by soldiers. Fela's daughter Yeni and her musician brother Femi have built up a nightclub that can hold thousands and has live music throughout the week. It's not for the faint-hearted, but the Shrine is probably the safest place in Lagos: it has its own police force. You'll get a warm welcome, and hear some of the best live music in the region.
· Pepple Street, Ikeja.
Rose Skelton, music and travel journalist specialising in West Africa

• Bars and clubs
• United States
• New York
• Ireland
• World music
• Budapest
• Hungary
• Berlin
• Germany
• Lisbon
• Portugal
• Yorkshire
• Argentina
• Havana
• Cuba

Filed under: Comedy, New Releases, Theatrical Reviews, 20th Century Fox, Family Films

Continue reading Review: Diary of a Wimpy Kid

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Microsoft dishes out Windows 7 SP1, Windows Server 2008 R2 details originally appeared on Engadget on Fri, 19 Mar 2010 16:27:00 EST. Please see our terms for use of feeds.

(Version Française ici).

About five years ago, I wrote a detailed report on how one could have the choice between GNU / Linux and other operating systems in Argentina. that was most surprising for French people, that have always had the greatest difficulties in getting such a choice, despite the remarkable efforts made by the Working Group Detaxe and Racketiciels. It was even possible at that time in Argentina to compare on the website of major retail chains (Fravega, Garbarino, the equivalent of Darty or Boulanger in France) the price for the same machine with another operating system or with a Debian-based, customised Argentinian GNU / Linux, developed by an SME named Pixart (not to be confused with the studio Pixar!).

But starting from 2 years ago, I have seen that it has become impossible to find any longer a single machine with GNU / Linux in retail: worse, we saw some very dubious agreements negotiated under the high patronage of the founder of the multinational software company that monopolises the operating systems market.

One may well ask why: this is not without reminding us of the situation here in France, where after SFR placed on the market more thatn 250000 Netbooks all equipped with GNU / Linux about two years ago, we can not find now a single netbook without Windows (yes, I write the name in full letters now, because I am particularly upset: I wanted to buy one for personal use this Christmas, but despite my efforts, I have not found a single model with a GNU / Linux preinstalled in France).

The few remaining fans of software monopolies like to say that this sudden vanishement proves that the other operating system is superior to GNU / Linux.

Well, I happen to have in my hands right now a copy of the appeal filed against Microsoft by the little Argentine SMEs Pixart, and it is very helpful in understanding what really happened there ... and very likely what is happening here too.

Microsoft does not usually sit back when it loses market share, and I already noticed back then that Redmond had put in place a strategy to counter the spread of GNU / Linux in emerging markets. In Argentina, already in 2005 they had managed to convince the government to spend taxpayer money on an operation codenamed 'Mi PC', which through a microcredit whose interests were paid by the state, encouraged the public to buy machines that are sold with Windows SE (Starter Edition, they say), better known today as Windows FTP (For The Poor). This edition sports ludicrous limitations like the following: only recognises 256 Mb of RAM (with XP, It's a little short), 80 GB hard disk (ditto), screen resolution was limited to 800x600, no local network, and you cannot open windows for more than 3 applications at once (oh well, if there is something that poor people have in abundance is time, therefore they will only run 3 tasks in parallel, and no more).

This version was sold cheaper than the standard Windows editions , with the aim to compete with GNU / Linux machines, but at that time this move made me laugh quite a bit because the early machines with Windows FTP still costed at least 500 pesos more than the equivalent GNU / Linux systems, which had no such ridiculous limitations: one really had to be poor in spirit to purchase them!

What I did not know in 2006 is that the Windows For The Poor was just a first step in the strategy: The second step was to artificially lower the final price of computers running Windows, and financially strangling Pixart, which could not charge anymore its service for pre-installation of custom GNU / Linux on machines manufactured in Argentina.

In reading the appeal filed by Pixart, we learn that Microsoft would have started in 2008 to give back large amounts of money to the whole distribution chain to convince them to buy exclusively Windows, and these sums have been disguised in various forms.

For example, I heard that Microsoft would have payed hundreds of thousands of dollars a year to some distributors, officially for the Microsoft logo to appear on the leaflet advertising the chain. Well, this kind of operation is called 'rear margin' here, and generally corresponds to an abuse of dominant position from retailers who charge abusive fees to small suppliers for purported advertising campaigns that hide forced rebates. But in our case, I have a hard time thinking that a small retail chain in Latin America has a dominant position when facing a multinational that generates profits of billions of dollars a year.

But why, you will say , is Microsoft complicatin its life like this? Was'nt it easier to simply lower the cost of licensing Windows to, say, $ 5, rather than continue to charge $ 100 initially, to repay $ 95 to distributors right after?

Well, no! Because, if we lower the cost of the officially licensed Windows FTP to $ 5, then it must be sold $ 5 everywhere, and we can no longer pretend to charge $ 200 to large customers (such as ministries in Argentina) for the full version .

It is much more interesting to pretend that the cost is 50 or 100 dollars, and find a way to give back 45 or 95 dollars under the table: on one side the illusion is maintained that the price is high and constant, on the other, one can happily strangle competition, by lowering prices only on the competitive segment (the rebate is conditioned, of course, to stopping any sale of the rival product).

This wonderful monopolistic invention has one flaw, though: it brutally violates the rules of competition, which are codified, for better or worse, in almost all countries, including Argentina. To function properly, it must be carried out in the greatest secrecy, and stay safe from prying eyes.

But it may well be that this discretion is not going to las much longer: using the laws on competition in Argentina, Pixart filed appeal, describing what it thinks is the strategy followed by Microsoft, and asking the judge to compel Microsoft, and distributors to provide all evidence of purchases, grants, rebates, in short, an account of all financial transaction, even by means of intermediaries, between Microsoft and distributors.

Pixart also suggests that the judge checks whether Microsoft properly pays tariffs for imports of these licenses: it is well known that Microsoft

In order to have access to iPad testing units, developers and testers had to agree to keep the device tethered to a fixed object in an isolated room with blacked-out windows, according to a report by BusinessWeek.

That’s pretty hardcore. It’s unclear from BusinessWeek’s report if that was a condition enforced before the iPad was unveiled to the public or if it’s something that will be kept up until the April 3 launch date.

Apple is a notoriously secretive company, especially when it comes to new products. Outside of partnerships with content publishers like The New York Times, Wired and The Wall Street Journal who have either confirmed interest or already shown demonstrations of their applications, the few developers that do have access to the iPad are keeping their mouths shut.

It also appears that in order to be on the list for the iPad, developers or companies had to be pretty high on the totem poll. Not even Trip Hawkins, who founded Electronic Arts and once worked at Apple, could get a testing unit for his new company, Digital Chocolate.

Now, not having physical access to the device doesn’t preclude developers from creating apps for the iPad — Apple actually started accepting apps for review today — but it does make refining the app much more difficult.

As was the case with the iPhone, we expect the best iPad apps to be those that can take advantage of multi-touch in ways that just feel better. Gestures and interactions on a bigger screen are probably features that will need to be refined over time — just as they were with the original iPhone.

The degree of Apple’s iPad-related secrecy might sound well, paranoid, but the fact is, at least for now, the company can get away with it. The mobile ecosystem is so hot — especially for the iPhone — that getting on the iPad and getting on early is worth the hoop-jumping for many developers. Some would even to settle for using an emulator until the product is officially launched.

What do you think of Apple’s corporate culture of secrecy? Let us know!

Tags: app store, apple, developers, ipad, secrecy

When you watch Stupid for Movies, an independently-produced movie chat show live-streaming weekly on Ustream at 8 PM PST, you see Los Angeles-based film critics Mark Keizer and Wade Major sitting side by side on a red-curtained set that invokes the golden days of Siskel and Ebert at the Movies, reacting to an enthusiastic audience’s applause. Keizer and Major banter back and forth about the week’s new releases and films the audience should “Buy, Burn or Rent,” while director Mike Rotman chimes in occasionally on the banter.

With five cameras, a small crew and live-streaming technology provided by NewTek, Stupid For Movies has been running for two months now, with the live episodes archived on Blip the following day. Last night’s episode’s stream received a total of 5,799 views, with 300 live viewers tuned in around 8:40 PM PST — a viewership number that is only built upon once the episode is archived and spread around to its distribution partners.

The magic all happens in a converted garage up in the San Fernando Valley — one of Los Angeles’ most suburban sectors, where most of the houses look the same. Inside that garage, though, is a surprisingly professional operation crammed into a space that would barely be able to fit two Volvos.

The exterior of the studio/garage.

The production behind-the-scenes was a mix of laid-back and professional, with the breaks provided by short clips from films used to adjust camera angles and touch up makeup. On screen, that attitude carried through: Both hosts were confident and relaxed on camera, with only the occasional moment of hamming on the part of Major. (Mocking Major’s shirt appears to be a running theme.)

I consider myself a movie nerd, but watching Keizer and Major identify random obscure films from the last 40 years made me feel ignorant — their film knowledge is wide and all-encompassing, to the point where it seemed that many of the films suggested by viewers for the Buy/Rent/Burn segment were submitted just in the hopes of stumping them (which only sort of happened once with the old Wes Craven film Deadly Friend, though they quickly recalled it once given a hint).

Major and Keiser get ready for their close-ups.

The key to Siskel and Ebert’s dynamic was always that they weren’t prone to agreeing with each other, but while Keizer and Major (who also host IGN’s Digigods podcast) do demonstrate some distinctively different taste in films, Major estimated in a post-shoot conversation that they agree with each other about 65 or 70 percent of the time. What that contributes to, though, is a very distinctive point-of-view about the film world, one that has no patience for video game movies and dismisses the Teenage Mutant Ninja Turtles films out of hand — but does genuinely love film. The audience attracted to such a perspective is thus pretty specific, but with real potential for loyalty.

Rotman, who’s known Keizer and Major for years, has been working in web video for some time and currently directs The Kevin Pollak Chat Show on Sundays. When he came up with the idea for Stupid For Movies, he shopped it around to a few different parties but wasn’t happy with any of the deals he got — hence deciding to produce the show on his own, a decision made easier when he found a house for rent that had a soundproofed garage, thanks to its former tenant, a musician.

Chad Vader waits to chime in via Skype.

Currently on Stupid for Movies, online video legend Chad Vader does a weekly news rundown and at least once so far, Kevin Pollak has Skyped in to give the guys grief. Future plans for the next few weeks include bringing in celebrities to discuss their favorite movies ever, more giveaways, and possibly a sponsorship by one of the obvious movie-related brands online, leaving Stupid poised to become a much bigger player in the live-streaming world — especially for those who love movies.

Related GigaOm Pro Content (subscription required): Case Study: 1 vs. 100 Live’s Glimpse of the Future

A new torrent has been uploaded to U2Torrents.com.

Torrent: 5759
Title: 2001-10-10 * Joyce Center * University of Notre Dame * South Bend, IN * JEMS archive masters DVD
Size: 7.66 GB
Category: Elevation
Uploaded by: JEMSHQ

Description
-------------------------------------------------------------------------------
U2
Joyce Center
University of Notre Dame
South Bend, IN
October 10, 2001
JEMS masters

Video Source: live satellite feed > satellite receiver > forgotten professional format video tape (likely Betacam) > Digital 8 tapes
Audio Source: live satellite feed > satellite receiver > Casio DAR-100 DAT

Master Digital 8 tapes and DAT tape > Vegas edit, sync and author > Dual Layer DVD-R > VIDEO_TS

Data Size: 7.66 GB

Video Info:
Authored with menu
NTSC
MPEG-2
720 × 480 (4:3)
29.97 fps
8.00 Mbps

Audio Info:
PCM stereo, 48 kHz, 1.54 Mbps

01 Beautiful Day
02 Until the End of the World > Two Tribes
03 New Year's Day
04 When Will I See You Again
05 Stuck in a Moment You Can't Get Out Of
06 What's Going On
07 New York
08 Pride (In the Name of Love)
09 Sunday Bloody Sunday
10 Kite
11 Angel of Harlem
12 Staring at the Sun
13 Bad > Molly Malone
14 Psalm 116 > Where the Streets Have No Name
15 I Still Haven't Found What I'm Looking For
16 With Or Without You > Shine Like Stars
17 Elevation > Creep
18 Mysterious Ways > Sexual Healing
19 One
20 Peace on Earth (tiny glitch on both audio and video masters)
21 Walk On

So…some of you know that JEMS recorded the 2001 Notre Dame webcast direct from the satellite feed. I posted that audio a couple years ago and the response seemed to be positive in that it was considered the best version yet to circulate (oddly, a webcast-sourced version was posted to U2T a few months ago that some preferred even as the capture, by its very nature, should be inferior. Not throwing stones, I just don't understand how a direct capture from a satellite receiver could be inferior to a webcast downstream of the same source given the state of broadband in 2001).

While we were not able to capture live video ourselves, live video was recorded from the satellite though not of the multi-camera feed. From what I was told, this was because the feeds were coming through in PAL as that was the video system U2 employed on the road, but the so-called Bono-cam was NTSC and that feed was recorded. Now I honestly don't recall to what tape format the Booncam was captured (it was most likely Betacam), but well after the fact, JEMS was able to borrow and dub those pro tapes to what was the best format we could put our hands onto on short notice, Digital 8.

This DVD is the first time those Digital 8 tapes (three of them) have been transferred and circulated. Our good friend KS did the authoring and the syncing to the DAT audio source. He has done great work in the past and this one is no exception. He felt the quality was strong enough to author as a dual-layer DVD which will annoy some of you but at this point dual-layer burners are pretty common. This will be the only version.

Now, the real question is, is this better than what's circulating? I know at least one other satellite capture was made of the Bono-cam and it has always been my presumption that it was the source for all the copies in circulation. I have compared ours to the screen grabs at Achtung Bootlegs and it does appear to be an upgrade. The colors aren't as washed out (look at the green of Bono's guitar). The picture edges are more defined (read the word "Security" on the jackets near b-stage), and the audio should be an improvement. I have attached screen grabs of the menus and a few other frames to help guide you.

Sorry about the upload speed. This is going to take awhile and it will probably be turned off a few times over the weekend.

Butterking for JEMS

-------------------------------------------------------------------------------

You can use the URL below to download the torrent (you may have to login).

http://u2torrents.com/torrents-details.php?id=5759&hit=1

Take care!

Live U2
_________________________________________________________________________________
Disclaimer: Please do not reply to this email account it is NOT monitored.
Please visit the U2torrents.com Help section at http://www.u2torrents.com/help/ for helpful information or to Ask a Question.

Filed under: Sedan, Chevrolet, Chrysler, Dodge, Ford, GM, Police/Emergency

Charting the Five-Ohs: Next-gen Cop Car Comparo originally appeared on Autoblog on Fri, 19 Mar 2010 15:00:00 EST. Please see our terms for use of feeds.

Reports indicate that Samsung will begin producing iPad screens, a good 3 million of them in fact. The Korean company has managed to get a contract with Apple apparently worth $240 million to supply said number of displays for the iPad. The display of the iPad is one of its most expensive parts, costing $80 for all models. LG already has a large multi-year display deal with Apple, and the company is already busy coming up with 10 million iPad displays for the fruity company, putting the total number of displays ordered by Apple at 13 million, which is a wholesome number of iPads, wouldn’t you say?

Permalink: Samsung To Begin Producing 3m Of The 13m iPad Screens Ordered from Ubergizmo | RSS Sponsor: Win a Fellowes Microshred Paper Shredder!

Filed under: Microsoft, Browsers

Internet Explorer 9 to support hardware acceleration of HTML5 canvas tag originally appeared on Download Squad on Fri, 19 Mar 2010 14:45:00 EST. Please see our terms for use of feeds.

There are only two weeks left until the iPad’s April 3 launch date, and Apple has just started reaching out to developers to say that they’re accepting applications that were developed specifically for the device. We’ve included the Email below. The key takeaway: If you’re looking to have your app available at launch, you need to submit it by March 27, at which point Apple’s team will let you know if your application is ready for the grand opening.

The first few weeks after the iPad is released will be a huge gold rush opportunity, as users look to try out the device’s large screen for the first time. In short, if you can make it to one of the App Store’s ‘top apps’ lists, you’ll likely do very well for yourself. The only problem is that the vast majority of developers have never had access to an actual iPad — they’re all working off of emulators, save for a handful of extremely lucky developers who literally have their iPads chained to a desk. Developers can tweak their applications all they want on their computer monitors, but until they’ve actually gotten to try it out for themselves, they’ll have a hard time figuring out if their apps feel right.

I expect most developers will scramble to submit what they have by March 27, and that we’ll then see numerous updates immediately afterward as developers tweak button placement and other interface elements. Some developers may choose to simply wait until they have a device in their hands so that they can try out their apps before submitting, but the App Store’s discoverability issues make this a risky move (of course, given the hundreds or thousands of applications that will launch alongside the iPad, there’s no guarantee that you’ll get noticed on launch day, either).

Keep in mind that users will also be able to use scaled-up versions of iPhone applications on their iPads. Given the choice, though, there’s little doubt they’ll choose a native iPad app over an iPhone app every time.

CrunchBase InformationApp StoreInformation provided by CrunchBase

Filed under: Drama, Fandom, Scripts

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