I really like Pentax approach lately to demystify photography by bringing a sense of humor and color to the DSLR world. Sure I may never invest in a Pink or Yellow DLSR, but I would understand others interests in such camera. But today’s announcement of the “Cameraman” is a bit too far fetch for me.

Indeed, in cooperation with a Japanese Artiste, Ossu Syugeibu, Pentax now propose some kind of “kit” that will transform your DSLR or Point & Shoot in a doll like setup. By fixing a rag doll body below your camera and changing your Lens Cap with one where a smiley face is painted on it, you have here Pentax latest weird, but funny approaches to photography.

You think the idea of user-generated content as a business model was invented in the Aughts? No way. Media outlets have been drawing on material created by amateurs, consumers and customers for generations and repackaging it for your entertainment.

Folksy as it may sound, our history is driven not strictly by the polished content produced by a class of citizens with a slew of degrees and many years of training - a surprisingly amount has been generated in a largely unfiltered form by the masses.

Sponsor

Lon S. Cohen is a freelance writer and social media consultant. He is @obilon on Twitter.

Necessity meant that user-generated content was packaged and presented through very structured channels. That's not that different from today, where the stuff that we produce is presented through some slick content management system on websites like Blogger or Square Space or through podcatching software like iTunes.

Talk Radio

Click and Clack (Tom and Ray) are two brothers from the very funny and very informative nationally syndicated NPR call-in show, "Car Talk." Since the 1980s, these guys have done nothing but take calls from real life people who are having trouble with their cars, and then attempt to give good advice and be funny at the same time. It works. While the actual talking is done by these two grease monkeys the fodder is all provided by real people who call in with real automotive woes.

Dear Abby

Think that newspapers are being killed by user-generated content? Well it's about time we returned the favor since so many advice columnists made a name for themselves using our pitiful problems to advance their fame, dispense advice, sell a few newspapers and make some dough to boot.

One of the most famous and recognizable names in the advice column game was started in 1956 by one Pauline Phillips using the pen name Abigail van Buren or Dear Abby to dispense her "uncommon common sense". Without the contribution of hundreds of thousands of users over the years, Dear Abby and her twin sister, Eppie Lederer (a.k.a Anne Landers), would never been able to produce such a voluminous supply of folksy advice.

America's Funniest Home Videos

With the invention of the hand-held Super8 film camera and the video tape recorder, average people could tape themselves doing all sorts of silly, stupid, dangerous, profound or mundane things. Sometime in the late 1980s, television producers saw a goldmine in the stockpile of footage the average American had been recording for more than two decades.

In closest precursor to YouTube that anyone can probably point to, AFV consisted of the serendipitous slapstick of the average American man and beast. From sledding into the side of a house to a cake in the face, American viewers are still not tired of this shows format even though much more of the same can be found on YouTube every day.

Fanzines

Of course, the geeks rule in this very early form of user-generated content. In the 1930s, amateur magazines were produced by science fiction fans as a way to connect with other like-minded people. This became a massive network of people who produced, collected, commented and held conversations about science fiction. Some of the early fanzine publications even consisted entirely of letters sent in by subscribers - a publication with a cool sort of self-generating content paradox!

The preeminent SciFi convention, Worldcon, even instituted a best Best Fan Writer and Best Fan Artist category in the mid fifties to recognize the best of fan made content. Technological innovations like mimeograph and photocopy machines allowed for faster, quicker reproduction of fanzines to a global audience but unfortunately it wasn't until bulletin board newsgroups and blogging technologies came about until that information could be transmitted faster than the postal system allowed.

Late-Night Television

David Letterman had some wild antics by decidedly non-professional persons and animals with the Stupid Human Tricks and Stupid Pet Tricks segments on his late night show.

Along with fellow comedy writer, Merrill Markoe, Letterman hit on success with these two segments that invited the public to showcase their talents (and the talents of their furry friends) on national television. There were others who followed the David Letterman model of plumbing regular people for content to display on big media outlets.

Discuss

Honestly I don’t know why I’m on a journalism kick lately, but here I go again: Colin Marshall, host of a podcast and radio show called The Marketplace of Ideas recently posted an excellent list of interview techniques, including things like “have a conversation” and “reveal your ignorance”. Two things are interesting: 1) journalists, like anthropologists, frequently fall prey to an ideological sense of what makes a “scientific” or objective interview (a rote list of questions asked like the advancing front of a battle), and it often makes for bad journalism, by which I mean, journalism that doesn’t tell us anything we don’t already know; and 2) everything Marshall lists might be understood as ways to get outside the “framing” of discourse. This latter point is essential to me: anthropologists are doing good work when they figure out how to de-frame discourse, i.e. how to work a conversation out of the frames that restrict people from thinking. The salience of “framing” is obvious to sociologists, linguists, political scientists and others today, and there is much quality research on framing… but very little research on resisting the framing of discourse and enabling the progress of thinking. I read these tips as clear strategies for doing just that.

Sure, you might've seen the purported Xbox 360 Valhalla motherboard leaked yesterday... but have you ever really seen it? There's a subtle difference, one that requires you gaze through the ocular receptors of our dearest old friend (he hates when we call him that) Ben Heck. Joystiq sat down with him to deconstruct the pictures and get his take on all the hardware nuances. First and foremost, there appears to be no connectors that "look remotely like a Xbox 360 memory card reader," which lends credence to the thought process they might be going the way of the dinosaur. WiFi is still missing in action, and as for Project Natal integration, Heck's highly doubtful that's in the cards, though he shares our mindset that a bundle would make sense. The big question is size reduction, and to that our game console laptop guru suggests that, given the constraints due to a DVD drive, the best we can expect is a one-inch drop in height (standing console), 0.5 inches in depth, and just "slightly thinner." Sorry folks, looks like even in your wildest dreams, it'll still tower over the Nintendo Wii. A great read, don your thinking cap, give yourself 15 minutes, and hit up the source.

Leaked Xbox 360 'Valhalla' motherboard analyzed by Ben Heck originally appeared on Engadget on Thu, 18 Mar 2010 21:29:00 EST. Please see our terms for use of feeds.

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Robert Andrews is puzzled. Why Are Russians Spending Like Mad To Save Journalism? | paidContent:UK

He writes:

The latest - after last year buying France-Soir, the country’s smallest daily, for €50 million, shipbuilder’s son Alexander Pugachyov is now spending a further €20 million on a marketing campaign to take it mainstream. He’s upping the print run by 20 times, has halved the cover price and has more than doubled newsroom staff from 40 to 100.

Jealous? There’s no part of this that makes immediate sense. In fact, contrasted with the cutbacks, climbdowns and contraction many parts of the industry are seeing, it looks like madness.

...

The Pugachyov scenario in France mirrors that of Alexander Lebedev in the UK ... The former KGB agent took the London Evening Standard, whose circulation was falling, off DMGT’s hands for just a nominal fee, forewent cover-price income in favour of free distribution on a higher print run, and pledged a £25 million investment over three years.

“£25 million investment??” That’s unheard of in today’s news publishing economy... Now Lebedev’s set to repeat the act by buying The Independent.

I think I can help Mr Andrews understand what's going on. It has nothing to do with "saving journalism."

These are prominent publications in their country. They are being bought not to make money but as vehicles to influence politics and society.

It's not the first time this has happened. Hearst used his newspapers for political influence, and many others have done the same.

Investing in propaganda...

The Russians, in particular, understand the power of media. At the heart of the Bolshevik party was its newspaper, Pravda.

The Bolshevik party wasn't investing in journalism when it funded and published Pravda -- it was investing in having its ideas discussed in society, and in the political realm.

These are ultra-rich individuals, they aren't buying the publications as investments in that business, but as an investment that will aid their other businesses.

Mr Andrews notes that Alexander Pugachyov is the son of a Russian shipbuilder and that the French government may place an order for four battleships. I think that's a pretty big clue that the investment isn't about "saving journalism."

Media businesses are often loss-leaders that help drive other businesses. You see this today a lot. Most online media sites, especially blogs, don't make money from online advertising but from selling other things, such as services, or research reports, hosting events, etc. You don't make money directly from the traffic.

- - -

I already have a loss leader, I just need to add services and products that I can sell to help support my journalism. That's why I've started to do some consulting for companies such as Intel, Pearltrees, SAP, and others.

Let me know if you need some help on media/business strategies - 415 336 7547.

Microsoft's a pretty big company, and while we've been focused on its Windows Phone 7 Series and Pink mobile projects over here in the Land of the Free, its Live Messenger arm has apparently teamed up with French mobile carrier SFR for a branded phone. The Messenger Edition 251 handset looks to be based on Windows Mobile 6.5 (or something older), with no word on who the hardware partner is, and is taking on the youth market just like Pink will presumably be doing Stateside sometime this year. Of course, Messenger is much more popular in Europe than it is in the States, so it makes sense to brand a phone around it, but underneath that candy QWERTY shell we're sure those hapless Europeans can find plenty of legacy Windows Mobile to be desperately disappointed in.

[Thanks, Bibo]

Microsoft's Windows Live Messenger phone for France is hardly Pink originally appeared on Engadget on Thu, 18 Mar 2010 20:38:00 EST. Please see our terms for use of feeds.

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Kudos to Comcast for embracing the year 2009. The nation’s largest—and quite possibly worst—ISP has finally committed itself to deploying 100 mbps broadband beginning this year. That will make the FCC happy, what with the loft goals it set with its National Broadband Plan. It’s also good news for people who know their way around things like Usenet—taps nose like a spy. Will it be affordable, though?

The big rollout will happen within the next 12 to 18 months. Most, if not all, of Comcast’s customers will be able to sign up for the super-fast service. You can thank DOCSIS 3.0 for that.

Price may be an issue. Right now, Comcast offers 100 mbps down/15 mbps up service to business customers in the Minneapolis/St. Paul area for $369 per month. There’s no way you’re going to convince residential customers in this economy to shell out nearly $400 a month for Internet access, no matter how fast—that’s the price of two car payments. Now you’d have to figure that not even Comcast would be that silly to charge that kind of money for residential Internet access. I don’t know what’s involved with business-level Internet access at Comcast, but presumably it comes with free ostrich egg omelets once a week.

For comparison’s sake, I already have 100 mbps Internet access from Cablevision, an ISP in the New York area. For $100 per month I get 101 (!) mbps down/15 mbps up. I am, in fact, able to max out my connection when using Usenet (I have Newsdemon). But a fair warning to people who think the Internet is magically going to fly once they hop aboard the 100 mbps train: it won’t. Sites like YouTube are still dog-slow, Gmail isn’t any faster than it is using your regular broadband connection. In a sense, you’re faster than what these sites can handle. That will change over time, of course, but don’t think getting 100 mbps is going to change your life if all you do is check your Facebook and watch the occasional YouTube clip.

It’s sorta weird: sites won’t upgrade their capacity until there’s enough people with super-fast connections to make it worth their while, and it may not be worth it to the average person to upgrade, and perhaps pay $100 per month, until it’s worth their while.

When we were driving out of town I said, "I hate the corpses of empires, they stink as nothing else. They stink so badly that I cannot believe that even in life they were healthy." "I do not think you can convince mankind," said my husband, "that there is not a certain magnificence about a great empire in being." "Of course there is," I admitted, "but the hideousness outweighs the beauty. You are not, I hope, going to tell me that they impose law on lawless people. Empires live by the violation of law." (Rebecca West, from Black Lamb and Grey Falcon)

Strange week this week. All Marvel and Vertigo. And lots of sex. Weird. And yes, I'm aware the fourth issue of Daytripper came out last week. I didn't get it, for some reason. I should have it this weekend. Dang. Let's move on!

Avengers vs. Atlas #3 (of 4) ("Hulk Smash!"/"Hey, Venus!") by Jeff Parker (writer, "Hulk"), Paul Cornell (writer, "Venus"), Gabriel Hardman (artist, "Hulk"), Leonard Kirk (artist, "Venus"), Elizabeth Breitweiser (colorist, "Hulk"), Brad Anderson (colorist, "Venus"), Tom Orzechowski (letterer, "Hulk"), and Joe Sabino (letterer, "Venus"). $3.99, 30 pgs, FC, Marvel.

Everyone reading this should know what I'm going to rant about. When Thor transports the Avengers and the agents of Atlas to Norway, he says, "But I know of one place on Midgard I can bring us all to!" Sorry, Thor - it's TAKE!!!!! Seriously, poor "take." No one loves it. So sad.

I love how Parker casually makes Hank Pym a dick even when he's not really trying. When the old-school Avengers find out that Bruce Banner is the Hulk (because Venus sang to him and calmed him down, turning him back to Banner), Pym says, "That's Dr. Bruce Banner! He's maybe the top physicist in the world -- well, besides me ..." Ha! And Parker makes Tony Stark a bit of a wuss, too - Marvel Boy telepathically informs Pym about what's happening, and Stark says, "He could have put the knowledge in me ... I would have gotten it." If that's not enough, in the next panel, Stark looks down at himself and says to no one in particular, "I built this suit ..." Whenever a writer is clever enough to drop stuff like that into his fairly standard superhero team-up (which this is), I appreciate it, because it just humanizes them and makes it easier to deal with the wackiness of a team from the 1960s (or a decade ago, according to Pym) joining up with a team from the present thanks to some time anomaly. They all fight the Hulk, Bob figures out what's up, and everything is set up for the final showdown. It's good, clean fun!

In the back-up story, Cornell and Kirk bring us Venus, love advice columnist. It's pretty hilarious (see the panel of awesome below), as she answers questions from Hercules, Deadpool (which is particularly hilarious), I assume Jocasta, the Hulk, Norman Osborn (more hilarity!), Kitty Pryde, and Clint Barton. It's very dependent on knowing Marvel continuity (unsurprisingly), and the only one I didn't get was the letter from Miss Dean. Help me out, more knowledgeable readers! It's a fun little tale.

Sex in this comic? Hoo-boy, you bet. It stars Venus in both stories, for crying out loud! In the first, Venus has to sing to calm Bruce down, and two superheroes get caught in the sound wave. Macking commences! And in the second, well, Deadpool's letter is the highlight, and I won't spoil it.

One panel of awesome:

Oh, Hulk, no one understands you!

Fables #93 ("The Little Murder Part Two of Two") by Bill Willingham (writer), David Lapham (artist), Lee Loughridge (colorist), and Todd Klein (letterer). $2.99, 22 pgs, FC, DC/Vertigo.

It's been two months since the last issue of Fables. Strange. Anyway, I always dig the short stories of this series because they seem to contain standalone stories, but Willingham always makes sure that things get tied into the main story later. In other words, I doubt we've seen the last of the some of these characters. The story itself is not great but not bad, as Ambrose needs to figure out a way to deal with the serious transgression from last issue in a way that doesn't rip his kingdom apart. He does it, of course, but there's still some restlessness among the subjects, and that can't be good. I do like the only witness for the defense - at first, I thought it was absolutely idiotic, but once John started expanding on his story, it made better sense. And hey - those people who wish to read political intent into writers' books can kind of have a field day here, as Willingham tackles the death penalty and the idea of culture leading to what some would call crime. I honestly don't care when writers inject their political beliefs into comics (if, indeed, that's what Willingham is doing here), because this issue, while not superb, does show how much difficulty Ambrose is going to have moving forward. That's what makes this such a neat series.

Sex in this comic? Definitely. Off-panel and after the issue ends, but oh yeah, someone's getting lucky!

One panel of awesome:

Won't someone think of the ... squirrel children!

Hercules: Fall of an Avenger #1 (of 2) (Hercules main story/"Greek Tragedy") by Greg Pak (writer, "Hercules"), Fred van Lente (writer, "Hercules"), Paul Tobin (writer, "Tragedy"), Ariel Olivetti (artist, "Hercules"), Reilly Brown (penciler, "Tragedy"), Jason Paz (inker, "Tragedy"), Wil Quintana (colorist, "Tragedy"), Simon Bowland (letterer, "Hercules"), and Joe Sabino (letterer, "Tragedy"). $3.99, 30 pgs, FC, Marvel.

There are a few writers that I simply will not read. I've read their stuff, disliked it enough to know it's kind of a pattern with them and not an anomaly, and won't try it again. There are some writers who I dislike so much that even if they hook up with a fantastic artist, it's not enough to get me to buy it. However, if I like the writer, usually I can take lousy art, because I'm much more interested in the writing in comics than the art. If the art doesn't make my eyes bleed and tells the story serviceably, I can deal with it. Very rarely will the art on a book I want to read by a writer I like keep me from buying it. Let me tell you, I had one of those moments on Wednesday, when I looked at this book and Ariel Olivetti's art.

I can't really put my finger on why I don't like Olivetti's art. I didn't always dislike it. A decade ago, when he was still drawing using heavy lines rather than whatever the hell he's doing now, it wasn't great art but it had a kind of mad energy to it. Then he started doing more and more delicate line work, it appears he's given up on inking, and I don't know what's going on with the coloring (an Irene Y. Lee is credited with "production" on this book; does she do the coloring or does Olivetti?). It's that faux-"realistic" look that, to me, is ridiculously static and, at times, downright creepy. It's kind of the same thing that Salvador Larocca has done in the past five years or so, with color washes that drains everything heavy from the page but makes the art far too ephemeral. It's not a good look. Olivetti is fine telling a story, but the art just repels me. But I bought this anyway, because I knew that Pak and Van Lente wouldn't let me down. And, heck, they didn't. Well, except for one brief exchange. I'll 'splain.

The premise of the book is that Amadues Cho and a bunch of heroes congregate at the Parthenon to honor Hercules. Amadeus is peeved at Athena and wants her to show up, but instead the heroes do. So they all tell stories about how groovy Hercules was. Thor talks about the time he and Herc had to outdrink a bunch of giants, while Namor tells them of the time Herc beat on him to get him out of a funk. (I wonder why Namor is wearing his new, "I'm so cool" outfit in his flashback when he's wearing his old-school, "I'm so cool I can look UNcool" underpants in the original comic. I mean, will people reading this comic be that confused that he ... changed his clothes?!?!?!?) These are not bad stories, and Thor's is quite funny. Then the babes show up, talking about how hot Herc was (it's true - they all say it!). Snowbird says that they all "lay" with him, then continues: "I know there are others in the crowd who should join us ... don't be shy." At which Northstar says, "Is that the time? Gotta go!" while Namor looks on, a question mark above his head. Ha ha, Jean-Paul had sex with Herc and he's embarrassed about it! Now, this bugged me. First of all, Herc is a god. And he's, you know, Greek. I always assumed he was kind of pansexual, so the idea of him having sex with men isn't that strange. Second, Northstar is (wait for it) gay. And everyone knows he's gay! Who cares if he had sex with Herc? It felt, to me, that Van Lente and Pak were saying that a gay man would be embarrassed that he had sex with a man, while the women aren't. This would have, actually, been a perfect opportunity for another Marvel hero to come out of the closet - the joke would have been funnier if Snowbird had said that and someone like Warren or Logan had shrugged and said, "Hey, it weren't no big thing." But it's weird that Northstar is embarrassed about it. This weird feeling continues on the next page, when Alflyse starts talking about her time with Herc (see the panel of awesome below). Wolverine and Fandral looked shocked. After she's done talking, Namor too looks shocked (and Thor looks like he's fondly remembering his own experiences with the Elven Tickler, which isn't too surprising, given that he's, you know, Thor). Logan is older than a century, and he knows how to get with the ladies. Fandral is a freakin' god. Namor, I suppose, is the most stuck-up of them, so him I can forgive. But the idea in mainstream comics, it seems, is that men like the sex as long as it's not too weird, while the women kind of tolerate the sex but certainly don't do anything wacky. Pak and Van Lente are subverting the second assumption, but reinforcing the first. Are you telling me Logan never got really weird with any of the seriously crazy women he hooked up with? Are you saying Fandral never did anything bizarre to mix things up after a thousand years of the missionary position? I've seen this attitude before in Marvel and DC comics, and it's a bit strange. If someone who looks like Alflyse starts talking about how much she enjoyed Herc's mastery of the Elven Tickler, I wouldn't looked shocked, I'd be breaking out the instruction manual to figure it out!

And then Athena shows up and tells Amadeus that he's the new leader of the Olympus group, which leads into next issue. And the back-up story has Venus and Namora going around telling people that Herc is dead. It's a clever idea by Tobin - apparently Herc invested money in stuff and then forgot about it, so he has all sorts of weird holdings all over the world, some of which have done very well for him (he was an early investor in Stark Industries, for instance). It's a nice little story that features a hydra. Which is never a bad thing to see.

Sex in this comic? See above. Plus, Venus get naked in a totally non-sexual situation (one of Herc's holdings was a nudist colony), and all the people who lived in homes that Herc owned happened to be women. I wonder why?

One panel of awesome:

I love Wolverine's expression!

Joe the Barbarian #3 (of ВосемБ) ("The Dying Boy") by Grant "Yes, this is just propaganda to get you to keep rats as pets, why do you ask?" Morrison (writer), Sean Murphy (artist), Dave Stewart (colorist), and Todd Klein (letterer). $2.99, 22 pgs, FC, DC/Vertigo.

Morrison unveils a few more secrets in this issue, as Joe is shown something that makes his journey through the strange world of more import than it already was, and a new adventurer joins the team. And of course, because it's a Grant Morrison comic, the very odd bad guys (well, I'm just going to assume they're bad guys; they could be kindly monks for all I know) are revealed at the end. There are typical Morrisonisms sprinkled throughout the dialogue, and it all moves along at a nice clip. Murphy remains the absolutely stunning star of the comic, though. The chase at the beginning of the issue is terrifically exciting, and when Joe and Jack arrive in Draka's town, Murphy gives us a full-page drawing that is simply gorgeous. When Joe collapses near the end of the issue, Murphy looks downward through his house, almost giving us vertigo. The book itself continues to get better, writing-wise, but Murphy's art is so staggering you almost don't need to read the text. That's so rare with a Morrison comic that it's almost unbelievable. But there it is!

Sex in this comic? It's about a boy in a fantasy land. Let's hope not!

One panel of awesome:

So portentous!!!!!

Marvel Boy: The Uranian #3 (of 3) ("Man of Two Worlds") by Jeff Parker (writer), Felix Ruiz (artist/letterer), and Val Staples (colorist). $3.99, 22 pgs + 18 pgs of 3 back-up stories, FC, Marvel.

This isn't a bad comic, and it looks great, but it does feel more like Parker is filling in the gaps of the characters from Agents of Atlas (or, I guess, Atlas) than telling a standalone story. He fleshed out some crucial points about Bob's past, namely his connection to Uranus and what his overlords really want (and if I call them "overlords," they can't be too benign, can they?), but this feels a bit trifling, as if it could have been told in a flashback in the regular series over the course of an issue or possibly two. Three issues is a bit much. I mean, we get to see a giant 1950s Marvel monster (see below), some nice parts about Bob's life, and a groovy mad scientist, but it still feels a bit too slight. Oh well. The art is fantastic, Parker's writing is fine as ever (even if the book itself is slight), and we get to see a bunch of reprints drawn by Bill Everett. If you're a fan of Jimmy Woo's team or Parker's writing, it's a fun book. For four bucks a pop, though, it's a bit steep.

Sex in this comic? Bob gets busy in a rocket with Violet. There's nothing better than zero-gravity sex! (Or, you know, so I'm told. By my astronaut friends. Of which I have many.)

One panel of awesome:

Jeff Parker + Felix Ruiz = awesome!

Spider-Woman #7 by Brian Michael Bendis (writer), Alex Maleev (artist), and Cory Petit (letterer). $3.99, 35 pgs, FC, Marvel.

Bendis writes at the end of this book that it's over, because it's way too much work for Maleev to do it, motion-comic style. Why they specifically had to do it motion-comic style isn't addressed, but apparently putting together a motion comic takes a lot more time and effort by the artist, and it was killing Maleev. KILLING HIM!!!!!! So they pulled the plug. Oh well.

I'm not that put out by it, because I was probably going to drop the book anyway after the first arc. I will defend the Bendis/Maleev Daredevil to anyone who tries to put it down (which, to be honest, isn't many people), but this just never got good. It had a nifty hook but Bendis simply didn't do anything with it, and in the end, he had to bring in the Avengers to bail Jessica out. This issue is just a big ol' dumb superhero fight with a few clever Bendisisms, but mostly, it's dumb. And Jessica is a total bitch. She's not a bitch in a charming, fucked-up way that Jessica Jones was in Alias, she's a bitch in a "Gosh, I really hope that Skrull kills her" way. She keeps calling the Asian girl "dumb" because she claims that her Skrull boyfriend is Spider-Man. Now, the way Maleev draws her, it seems like she's blind. Second, the Skrull is, you know, a shape-shifter, so even if she's not blind, he could look like Spider-Man. Jessica points out that Spider-Man "famously" lives in New York, but she's only been dating him three weeks, meaning he could be on vacation or something. So, um, Jessica? Shut the fuck up. As Abigail points out, your track record so far in this comic isn't great in the intelligence department, so if the girl from Madripoor believes she was dating Spider-Man, you're the last person in the world to call her dumb. And then, later, the Skrull tells her that the queen chose her form because "of all the people in the world ... we discovered that no one on this entire planet cares enough about you to notice you at all." Really, Skrull? Okay, from the way Jessica behaves in this comic, I see Skrull dude's point, but that's a bit extreme, isn't it? I mean, she has plenty of friends, after all. It's one of those things that sounds cool the first time you read it but then, once you think about it for more than a second, makes absolutely no sense. And then Wolverine tries to stab a shape-shifter to death. You'd think he'd know better.

So I would have ditched the book anyway, but now I don't have to. If you've been thinking about getting the trade, I'd skip it. Spend it on something, you know, good.

Sex in this comic? Not a bit. Jessica finds the Skrull in a strip club, though.

One panel of "awesome":

Really?

Vengeance of the Moon Knight #6 ("Shock and Awe Chapter 6") by Gregg Hurwitz (writer), Jerome Opeña (penciler), Jay Leisten (inker), Paul Mounts (colorist), and Joe Caramagna (letterer). $2.99, 23 pgs, FC, Marvel.

And now, Moon Knight And Me: A Love Story.

I have never made my love of Moon Knight a secret. I dig him. I love the whole multiple personalities thing, I love the whole weird network of operatives, I love the Doug Moench/Bill Sienkiewicz run with a love that is probably a little unhealthy, I love the Doug Moench/Kevin Nowlan run that followed it, I love the "Fist of Khonshu" series that followed that only lasted six issues and wasn't very good, I liked the 1990s series that also wasn't very good but lasted longer than any Moon Knight series ever, I loved the James Fry issues in the latter part of that run that were really bizarre eye candy, I loved the Stephen Platt issues that ended the run ... okay, that's a lie. I hated those issues. They're AWFUL. I loved the late 1990s mini-series that brought the character back from limbo, with Mark Texeira and then Tommy Lee Edwards on art. I loved the new series that launched a few years ago, which made our hero truly insane for, really, the first time (as much as Moench explored the idea of multiple personalities, you never got the sense that Moonie was all that crazy). And I loved the first few issues of this series, which returned Moon Knight to New York and brought back Bushman (okay, that wasn't too great an idea) and featured out of this world art by Opeña. I bought the first Moon Knight Essential volume because I didn't have the early appearances of the character. I'm going to buy the new hardcover of the Moench/Sienkiewicz collaborations before the first series launched even though I own some of them, because I love the character so much. I think that the first series is wildly underrated, as it was one of the first (if not the first) series to be released through the Direct Market, bypassing newstands and therefore allowing Moench and Sienkiewicz to tell more mature stories than mainstream comics before it. I think the character has a ton of potential that has been tapped a bit, but not enough. But that's just me.

So why am I explaining this? Well, as much as I dug what Hurwitz did in these first few issues (even though I didn't agree with bringing Bushman back and turning him into Bane), I thought this was a terrible way to end this arc and it makes me wonder if I will even buy the next arc. It makes me sad, but that's the way it is. In the first issue, it seemed as if Hurwitz was poking fun at the silliness of superheroes, but doing it subtly. I can deal with Moon Knight as satire, because it's an interesting take, especially as he's a bit, you know, out there. But as we got further into the arc, Hurwitz stopped doing that and this became much more of a straight-forward superhero comic. And I'm just not that interested in that anymore. I mean, Hurwitz brought Bushman back. So what? What happens to him? He ends up in an insane asylum. So what? Bushman's death was interesting because it pushed Moon Knight even further over the brink and set the stage for the previous series, which was excellent. Now he's back, and he's just another boring villain. Even in the mediocre 1990s series, he ruled a country, which added a bit of tension to his dealings with our hero. Now, he's dull. And we get another joke about Crawley getting hit on the head and changing his personality, back to what it was. This wasn't funny when it happened to Guy Gardner twenty years ago, and it's still not funny. I realize that I'm too close to the situation and I should be able to laugh at head injuries just like those uptight [insert ethnic group here] should be able to laugh at jokes at their expense, but it's not the fact that Crawley sustained a head injury and it changed his personality. It's that this book isn't a comedy, so tonally it was all wrong, and it's also that nobody seems to care. That's what bugged me when it happened to Guy - wouldn't someone think, "Hey, maybe we should check him out?" even if they liked his new personality more? Shouldn't Moon Knight have suggested that Crawley ought to get an MRI? It's too fraught with potential pitfalls to make it really funny, and Hurwitz didn't do(...)

Entelligence is a column by technology strategist and author Michael Gartenberg, a man whose desire for a delicious cup of coffee and a quality New York bagel is dwarfed only by his passion for tech. In these articles, he'll explore where our industry is and where it's going -- on both micro and macro levels -- with the unique wit and insight only he can provide.

"Any sufficiently advanced technology is indistinguishable from magic." I'd paraphrase Arthur C. Clarke's famous quote for the CE market by saying that any sufficiently advanced new product needs to look like it just came off the Starship Enterprise. I'd say Microsoft Surface was a product that met my definition as well as Clarke's when it launched a few years back -- and it should have changed computing quite a bit. Sadly, I haven't spoken to the Surface team in a long time and it looks like it may never go anywhere in the end.

The Surface concept was great. It was a Windows PC inside a table with a 30" touchscreen on top, and cameras that could sense what's happening on screen. The result is you could use a Surface device just by touching the screen with your finger -- but unlike other large touch screens at the time, Surface was multitouch, so you could use all your fingers at the same time. More importantly, multiple users could engage with each other. It was a PC but didn't look or run like a PC, which was genius -- you'd never know it was running Windows, but there was no development learning curve. It was totally optimized for that big honking touch surface area, and applications that worked with it -- I'm sure it could run Office, but that's not something it's was ever likely to do. Surface was PC evolution happening in real time. It's really something you needed to see up close and in thirty seconds before the light bulb went on. Sadly, most people have never seen or worked with a Surface unit. Beyond a small retail rollout at AT&T stores in NY that seems to have ended, the last time I saw one was the Edelman PR offices, where it sat like a large coffee table and did pretty much nothing.

Continue reading Entelligence: Will Surface ever surface?

Entelligence: Will Surface ever surface? originally appeared on Engadget on Thu, 18 Mar 2010 19:00:00 EST. Please see our terms for use of feeds.

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Part of the problem with web apps is that they're not as immediately accessible as something that's right there on your phone, and with a service like Buzz, if you can't update your status nearly instantly, it's not gonna happen. Hence, Google's new Buzz widget for Android (1.6 and above) makes a hell of a lot of sense, and might actually get me back to using Buzz, at least on mobile. Uploading in the background, also smart. [Google Mobile] More »

Part of the problem with web apps is that they're not as immediately accessible as something that's right there on your phone, and with a service like Buzz, if you can't update your status nearly instantly, it's not gonna happen. Hence, Google's new Buzz widget for Android (1.6 and above) makes a hell of a lot of sense, and might actually get me back to using Buzz, at least on mobile. Uploading in the background, also smart. [Google Mobile] More »

I’m at the NewsMorphosis Conference in Hawaii today locked in a day of debates about the state of news quality and how the hell we find a business model to keep paying for it. It’s a big issue locally– earlier this year three of Hawaii’s five largest TV news stations merged operations and the Honolulu Star-Bulletin is  merging with the other daily paper the Honolulu Advertiser, resulting in plenty of layoffs and general civic concern.

So it’s fitting that the conference ended with a talk by John Temple, the editor of eBay founder Pierre Omidyar’s new Peer News site, a test case in how the future of local news could work. And thankfully, we finally got a few more details on the site and the approach.

Temple was clear to say “there is no silver bullet” when it comes to fixing the media business, but also sees a great deal of hope in the volatility– this from the guy who was head of the now shuttered Rocky Mountain News, a paper that’s already gone through what so many dailies are dreading.

“We’re not trying to reinvent a local newspaper and put it on the Web,” he said. Indeed, the mission of Peer News doesn’t even contain the words “news” or “media” or “paper.” It’s simply “to create a new civic square.” Core to the development of Peer were three questions:

-What is the role of a free press in a democracy?

-How would you best fulfill that on a local level using all the tools available today?

-How do you do that in a sustainable way?

On content, the most interesting thing Temple talked about was doing away with “articles” as we know them. He criticized the static, episodic nature by which journalists have traditional covered news, challenging readers to hunt through archives for the information they want. Instead, Peer’s “building block” will be a page that’s always updated almost like Wikipedia, or as he put it, “something closer to a living history on a topic that changes as it develops.” There will no longer be a sense of “missing” an article, because the “articles” will be living things. That also addresses the critique that local news swarms around one issue, then moves on. “We’re not going to be hot topic driven,” Temple says. Going back to those questions, Temple says the role of a free press is to inform citizens so they can make intelligent decisions. “Let’s stop making it so difficult,” he said.

The other hallmark of Peer’s approach is what has made blogs popular– a sense of community. But it’s certainly a different approach. For one thing, Peer won’t have “reporters” in the classical sense, it will have “hosts” who help facilitate this civic square answering questions for the community.  “In this era, the fact that newspapers still rewrite press releases is an embarrassment,” Temple said. “We’re not going to be stenographers. I think that’s a downfall of journalism.”

But for a site that intends to be very community oriented, there was one big shocker: Peer will not have comments. “(Comments) descend into racism, hate, ugliness and reflect badly on news organizations that have them,” said Temple. Why? Because people do not have to show their faces when they comment so there’s no sense of responsibility, he argued. “We think anonymity is a huge problem when it comes to comments,” he said.

Temple also emphasized that the coverage would not pull punches: “We’re going to call things like we see them. We think there’s real value in taking a stand.”

So what about that business model? As Temple noted, there aren’t that many business models out there to chose from. Unlike most media sites, this will be a member site that people “value and will pay for.” He added “advertising would not be a key focus for us.”

Peer should be launching early next quarter, so we’ll be able to see more of these ideas in action soon. But it’s clear that the site– or “news service” as it prefers to call itself– is taking a markedly different approach from old and what we consider “new” media right now.

And with the benefit of some of these details, it seems less out of step for Omidyar to be starting this company. EBay, after all, was one of the first sites to powerfully leverage community on the Web, pioneering a lot of the systems of trust and reputation we still use today.

(More on Temple’s blog here.)

Brian Doom, that is. And since the website of Doom doesn't include any information to the contrary, I'm going to go ahead and assume Brian must be a doctor of something or other. For obvious reasons.

Anyway, Dr. Doom saw this morning's Rubik's cube for the blind post and did one of my very favoritest things for a reader to do: He one-upped me. Best of all, he one-upped me with his own work. This modded cube he made is not as randomly kit-bashed as it might look. When solved, each face features a unique color, shape, and texture, making it equally useful to both sighted and sightless solvers. Doom himself explains:

A few years ago (2002?) I made this "accessible" cube puzzle by simply gluing/drilling an existing cube. The goal was to get an intuitive sense of "where the cubes went" when a face was turned - by holding the back and viewing the front, the cubist can sense all faces at all times. This makes the design ideal for puzzling in the dark (which I did) but also as an enhancement for the visually-impaired without sacrificing usability for the sighted.

[Thanks, Brian!]

More:

• Rubik's cube for the blind
• Tactile puzzle cube

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On the scale of great European nights at Anfield this might not scrape into the top 40 but, as feats of escapology go, it was still a hugely satisfying occasion for Liverpool, given what it would have meant for them to go out of this competition. The Europa League is not a tournament the club would craves but it may yet have therapeutic qualities as they approach the final stages of a difficult, occasionally excruciating season.

The pressure on Rafael Benítez could have risen dangerously close to intolerable had Liverpool been eliminated before the quarter-finals. Instead they set about the business of overhauling Lille with equal measures of panache and determination, Steven Gerrard putting them ahead with a ninth-minute penalty before Fernando Torres's two second-half goals showed the Spaniard is close to his predatory best after a season heavily disrupted by injury. These two talismanic figures were outstanding on a night when the only concern for Liverpool was the effect a second game in four nights might have on the players' legs before hostilities are renewed with Manchester United on Sunday.

Liverpool put so much into this game their supporters could be forgiven if they find themselves fretting about the sapping effects. There was a heart-stopping moment in the first half when Gerrard went down after an innocuous aerial challenge and took an age getting to his feet, and there must be obvious concerns about facing a United side that has had the whole week to prepare. That, however, is a sacrifice everyone connected with the club will be willing to accept given the prize of invigorating their hopes of ending the season with a trophy – any trophy.

Thursday night football, with that peculiar pre-match anthem, is not what anyone at Anfield aspired to at the start of the season but it could not be said that the players looked short of motivation or that there was any sense of this competition being beneath a club more accustomed to the Champions League. Gerrard was a commanding, ubiquitous figure and there were flashes of brilliance from Torres as he scored his first goals for Liverpool in European competition since the quarter-final against Chelsea last April. Torres has now scored five times in as many starts since recovering from a groin injury and, when he and Gerrard are in this mood, it encourages the sense that the team can end the season with a flourish.

Benítez's men played as though it was not just the manager who was affronted by Albert Riera's description of a "sinking ship". Lille, a fast, counter-attacking side who have climbed to fourth in le Championnat, arrived at Anfield with a 1-0 first-leg advantage but the raw energy of the home side seemed to take them by surprise.

Riera has been suspended by the club until Monday and will be fined two weeks' wages. "We will deal with it internally," Benítez said. "Sometimes, though, you don't need to say too much [in response]. You just look at the way the players stick together on the pitch."

Point made. The match was a story of almost incessant pressure on Mickaël Landreau's goal. Only when the score was 2-0, with Lille pressing for the goal that would have turned the tie in their favour, did any nerves creep in. They subsided as Torres pounced on the rebound after Gerrard's shot had been parried by Landreau.

Lille will reflect on the moment, just after the half-hour, when Eden Hazard burst through the Liverpool defence and tried to flick the ball over José Reina only for his shot to deflect off the goalkeeper's head. But it was a rare attack. Liverpool's intent was obvious from the start and for long spells their opponents looked as though they had just realised how Anfield, under floodlights, with the Kop in good voice, can inflict stage fright on even the most intrepid travellers.

Their performance was riddled with mistakes and the game swung in Liverpool's favour after a nightmarish moment for Adil Rami, the Lille centre-half obligingly sticking out a leg as Lucas ran on to the ball inside the penalty area. Gerrard was calmness personified from the spot and, from that moment, Liverpool played with an assuredness that might not have been expected from a team with so much to lose.

Benítez later spoke of Torres still not being fully fit – "he is working very hard with the physios but he can still improve" – but five minutes into the second half the striker reminded us why a case could be made for him to be recognised as the most lethal finisher in Europe. Ryan Babel's through-ball was little more than a long clearance but the hapless Rami misjudged the bounce and from that moment there was an air of inevitability about where the ball would end up. Torres held off the centre-half Aurélien Chedjou and dinked his shot beyond Landreau. When he beat Landreau for a second time it soothed any lingering nerves in the crowd. Liverpool could get to like the Europa League after all.

• Uefa Europa League
• Liverpool
• Lille

Daniel Taylorguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

If you thought that wearing fur was outdated - what with all those green movements and animal rights activists who put this cruel sense of fashion in its right place with the likes of Cruella de Vil - fashionista's say, think again.

Last month the fashion world went literally “wild” in New York, Paris and Milan during the unveiling of their fall collection. They had models strutting the catwalk in so much fur, it was scary enough to make animal rights activists and environmentalists jump out of their skins.

In this era of global warming and dwindling animal species, one would think that we humans would come to our senses and rethink our actions. Not so, it seems, as there is a whole other world out there - the fashion industry of the west - whose endorsement and use of fur and exotic animal products simply encourages the mass slaughter of many endangered species.

A dealer's bounty at the Quartzite annual show for art and crafts. Image by Flickr user cobalt123. Used under a Creative Commons License

To name a few, the Chiru or Tibetan antelope, whose underbelly fur is used to make “Shatoosh” the world's most expensive shawls, also known as “shawls of death”. It takes 3 dead antelopes, to make one shawl, so fine it can fit through a finger ring, and each one can cost between $5000 to $20,000 in the international market. Even babies, and mother's who have just delivered, are not spared.

According to WWF, the population of this species has declined by over 50 percent in the last 20 years and the Tibetan Plateau Project says that it was the fashion-driven demand for Shatoosh in the U.S that resulted in as many as 20,000 antelopes being slaughtered. It is alarming to know that the animal could become extinct in the next three years at this rate.

In a blog run by Uma and Hurree called Animal Rights India, they argue how farming of Chiru's - like Eider ducks in Iceland for eider (as an alternative), will not make a difference to the dwindling numbers.

But hello: Eider ducks are now a protected species, and farmers in iceland use a technique of collecting the down without harming the bird. And no, it is not possible to obtain the shahtoosh wool without killing the chiru.

They go on to say:

It's impossible to justify killing three beautiful wild animals every time you want to push a length of shawl through a ring, blah blah. And to farm them just to kill them for shawls?

Raja Basu, another blogger said:

The Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) – which controls the trade in endangered species products – has completely banned international trade in Tibetan antelope products (including Shahtoosh). It is illegal to import Shahtoosh into many countries, including the USA (ironically, Shahtoosh products are so popular in the US fashion industry). Unfortunately, despite such laws being in place, the Shahtoosh trade is going on in full swing. This is because it is not enough to have laws. There must also be a strong public protest across the board against every person who is by any means related to the Shahtoosh trade. There should be a widespread public sensitization campaign to educate the common people.

Bloggers in the west, however, were giving this some thought and debated:

Rachel Menashy wrote on her blog:

1. People eat rabbits at restaurants. These rabbits have been killed to provide ‘dinner' for people like us (I would like to point out that I have never eaten rabbit and by ‘us' I mean people who eat in restaurants). Why is it right that rabbits can feature on a menu in a restaurant but wrong to wear a fur coat? These rabbits inevitably are skinned in preparation to be cooked - what else should we do with the fur?

2. Is it more acceptable if the coat is Vintage? Why?

3. Is rabbit fur better/worse than Mink? Some argue that rabbit fur is not as bad because rabbits are not in danger of becoming extinct, unlike mink which is. Then again, people keep rabbits as pets so is it more cruel to wear rabbit than mink?

4. If a fur coat is hanging on a rail at a store and one customer refuses to buy it, somebody else will…

5. Should role models such as Kate Moss be seen wearing fur? Kate's style is copied by millions of girls (and women) - is she giving a bad impression?

To which Denise replied:

1. I would personally be more likely to wear rather than eat rabbit. The eating of it seems less acceptable somehow.
2.Vintage coats have been around for a while and should be recycled - which I'm definitely into.
3. Mink are feral creatures and even though their fur is more desirable, mink are not aiming for extinction, so why not wear it?
4. Agreed.
5. I don't mind fur being worn by anyone, and Kate Moss is just showing that this is acceptable. Too many people are on the “fur is bad” bandwagon. I bet most of these people eat meat and wear leather, so what's the difference?

But there is a difference as Barry Williams responded to a thread: Wearing Fur is not immoral on www.helium.com

If we go around killing cattle for leather, alligators for shoes, deer for chamois and see nothing morally wrong in that , why it is immoral to wear fur. What I see as immoral is the killing of animals simply for the fur alone. It really is such a waste, isn't it? Apart from the leather we obtain from cattle not much of the animal is wasted. Beef cattle supply our meat.

There are a multitude of arguments out there, but in the meantime the Humane Society for the United States, says that Canada will slaughter 388, 200 harp, grey and hooded seals this year, an increase of 50,000 from 2009. This, because of the overall demand for fur. The site of the Fur Council of Canada shows styles and celebrities modelling various furs in what it describes as a fashion trend of 2010.

And unfortunately in the U.S, and much of the west, where Global Fashion trends are set, laws don't seem to be enough to curb their greed. According to the International Fur Trade Federation Blog:

..the shift in the attitude towards fur can be attributed to “changes within the fur trade, such as the introduction of the new Origin Assured initiative, which guarantees that fur bearing the label comes from a country with animal welfare regulations”. This shows that the fur trade efforts and initiatives to challenge the outdated ideas of our industry have been noticed. We are a transparent and well-regulated industry that supports high animal welfare standards and we welcome the confidence and support shown by the fashion designers as well as the European Commission, who recently recognised the importance of the Origin Assured label.

Fashion designers who have been courted by Furriers say they are “confident using fur after examining the chain of production and finding it humane. But could this confidence be based on a lack of investigation or knowledge? According to an endangered species handbook :

The New York luxury department store, Bergdorf Goodman, advertised shahtoosh in 1995 as a “royal and rare” fabric, making incorrect statements about the wool having been obtained from the Mountain Ibex goat of Tibet which “sheds its down undercoat by scratching itself against low trees and bushes” from where it is gathered by local shepherds (Schaller 1998)

And if the clubbing of baby seals and mass slaughtering of Chiras, mothers and babies, is “humane” then its sad to think of what “humane” means anymore, and what we are willing to condone in the name of “Fashion”.

Thanks everyone for your questions to my previous post on this subject. Now the results:

Everyone should install the Maemo Extras application catalog. Just unleash your phone by installing this repository.

After you are done installing this we go to the questions:

• How is XMPP working out?
  Good, so go doing your Facebooking or Jabbering everywhere. not to speak you Google Taking
• The “Unlocks with ’sudo gainroot’” needs a footnote:
  * you need to enable the Maemo Extras application catalog (see above) and install “rootsh”
  * or, alternatively (and less conveniently), you need to enable R&D mode with the flasher command-line tool on a PC, with the N900 connected over USB
• Does the browser (fennec iirc?) include support for playing back Ogg video and audio?
  Ogg support can be added as an additional download. You do have the real Firefox now, or so claims Nokia.
• Telepathy supports skype? Haven’t heard of this, but it would be _really_ cool!
  As written in my post “you have skype, but no skype app which is a plus.” Yes telepathy handles skype as it handles any other protocol. MSN call support is coming soon as well.
• I’d really like to know how easy is to exploit all the cool features of N900 in a self made program (with Maemo SDK or maybe QT 4.6). I mean, the N900 has a built in camera, AGPS, accelerometer, FM-transmitter and so on... is it possibile to write a custom program that uses one or more of these things? For example (it is really just a weird example) if I want to take a photo with the camera each time the phone is “shaked”, I could do it? If I want to save my GPS coordinates every 30 minutes in a text file, I could do it?
  I guess I won’t be answering that question in this life time… If (and only if) I ever try programming anything for maemo it will be in Python. I guess you can do pretty neat things with QT + other libs as this application shows. A detailed example of that app here (De-Spotify related).
• Test a/v calling on gtalk,jabber using telepathy works or not?
  tried once and didn’t work. It could have been me or my other peer either being retarded or just using Linux with the wrong sound config (experienced it before and it had nothing to do with i.e. skype being wrong)
• I have seen many people talking about unexpected errors, slow performance, etc. What´s your overall experience?
  I experience it as the easiest piece of tech I have ever had. It really is fast and gives me no headaches.
• Can you install .deb packages that are valid for a standard PC?
  I guess I should elaborate in this question but I won’t. A deb package made in your PC for the N900 architecture (armel) should work. But a standard x86 deb will not.
• Can you install pidgin?
  Why on earth would I want to do that? Telepathy is totally integrated in my contact list and relevant applications… Pidgin in this context would be like having a skype application: Just overhead! Think of this as a new approach at the way you communicate, not a reproduction of an ineffective way of doing things.
• I assume you mention OpenSSH from a client perspective. Can the N900 run the server side? (not sure that makes sense, but I am curious)
  It can and it rocks.
• How many apps you feel it can run in parallel before it feels bloated?
  I have my screen full of phone related apps, browser windows, multimedia stuff and random apps (terminal, chess, camera) and it still does not feel bloated at all. I really mean it. I never get irritated by this phone!
• For how much you bought it and from where i am in Egypt and i want to buy one?
  I did not buy it. I am just borrowing it (sort of) from a friend @ Nokia.
• Its usefulness ...
  It helps me being more effective when I am on the move and at the office. So it really is useful. Not to speak of its awesomeness when enjoying my private time (i.e. camera & video features)
• I’ve ordered one that wont arrive for another month =( A few questions related to barcodes. Can you take a picture of a barcode show it full screen and have scanners scan it?
  I read somewhere that you should be able to do so. Google it mate. I don’t need that and really don’t have time to test that, sorry.
• Is there a barcode scanner tool? Bonus for price comparison tools. Sometimes I’ll be browsing used game stores and see a game fairly cheap and wonder whether I can get it cheaper elsewhere.
  Read  questions #14
• If it isn’t too much trouble, I would like to know how well emacs works on the device, I notice it doesn’t have a meta key.
  Have given emacs way too many chances in other devices to make my life harder in this one. I am really not the right person to ask as I do not feel emacs works at all anywhere (and the same goes for vi/vim so do not hate the player, hate the game!
• Web browsing while playing music (recorded or streaming); heard complaints that playback may become choppy.
  Works like a charm even under crappy wi-fi conditions.
• Listening to music over BT stereo headphones and answering calls. Voice commands over BT?
  Lost my BT headset for a while ago and I really am not interested in buying a new one. If someone has experience on this please answer in the comments.
• Video calling. I know it’s not there yet in the integrated skype. But what about Fring or Gtalk or Ytalk?
  Tried skype and it worked like a charm. Do not use any of the others, sorry.
• Voice announcements of incoming messages while listening to music over BT?
  No idea. Read #18
• Smoothness of video playback, whether recorded or streaming? (Again, heard complaints of choppiness.)
  I recorded the audio and video at a concert last weekend and it really worked well. It might just be me and my lack of interest in video/audio quality in general.
• Does it have what it takes to play h264 videos in mkv containers?
  How can i test that?
• Can you try different resolutions?
  Why should I ever wish that? Drop me the command and I will run them
• How is the sound quality on mp3, ogg and flac files?
  Great. Nokia ere is king among mobile producers. Nothing can even compare to it, specialy when playing from the speakers. When using headphones it just rocks!
• How is the performance like for traditional desktop apps(amarok, akregator, openoffice.org)?
  I dreamed of installing the debian extra for maemo but never got far with it. Now I really do not feel like blowing up my preciously nice working N900.
• How is the performance of the ‘big’ desktop environments (xfce, gnome, kde)
  Hope I never have the time to go through that operation so I won’t have an answer.
• I’d like to see tested is how well this device works as a phone while all the other crazy hacks are going on.
  Works like a charm!
• Test call quality, battery life, address book functionality, etc.
  Cal quality is good. Battery life could be better (will last one day and two at the most)  and Address Book functionality is very nice specially if you think about how well integrated everything is. I have had several smartphones over the years and never seen anything like this.
• I am curious how well the calendar works, and more importantly, how well it synchronizes with Google Calendar.
  I’ve heard it works like a charm although I do not use Gcalender so I couldn’t tell.
• Does it run X11?
  I want to know but I don’t. It might do as I can connect to external machines with ssh -X and get apps running on the N900 (such as eclipse)
• In other words, is it pie-in-the-sky to expect to use it as a full-blown Linux box?
  It ain’t a box, it’s a pone with debian. Isn’t that enough for you? It certainly works for me!

Thanks for reading!

If you’re of the camp that believes your iPhone or iPod touch’s screen needs some kind of additional protective layer to prevent it from getting damaged, you may want to head to the Apple store soonish to stock up on said accessories. In the very near future, you might not be able to find them, at least not through Apple’s official channels, according to sources speaking to Macworld.

The sources, who are described as Apple accessory makers who want to remain anonymous for fear of arousing Cupertino’s ire, maintain that Apple has informed them it will no longer be carrying any films or covers aimed at protecting iPhone screens from dust or scratches, or even those that claim to prevent glare and ensure privacy.

If the sources are correct, all of these types of accessories will be pulled from the Apple Store, both in its online and physical retail incarnations, as will any other accessories that stick to the surface of Apple devices. The blanket ban on anything adhesive makes sense, since these apparently have a very high return rate because of the difficulty in applying them properly.

The ban on films that “protect” the screen also makes a good deal of sense, mostly because that’s a ludicrous claim to begin with. It’s like being sold insurance against possible gryphon attack. It’s just not going to do anything, besides maybe instill a false sense of security. Think about it: do you buy protective films for your eyeglasses?

Because it’s the same exact thing. Or maybe even more ridiculous, depending on the quality of your glasses. Apple’s iPhone and iPod touch screens are made of optical glass, which is the most scratch-resistant glass in existence. I personally have owned two iPhones and two iPod touches, none of which have ever borne any kind of screen protection. I’ve dropped them all countless times, and even kept them in pockets with change and other knick-knacks, and the screens are pristine. The back cases? Not so much.

I’m not advising against due diligence here. Generally speaking, I keep my iPhone in a pocket designated for it alone, or with a pack of gum or something else non-abrasive, though sometimes I forget and throw it in with my keys. Still, keeping it loose in a bag of sand probably isn’t a great idea.

But Apple’s doing a great service to customers with this move, even if that what’s motivated it to begin with. The absence of screen protectors on Apple Store shelves should hopefully go a long way toward curbing unnecessary accessory purchases. Unless you shop at Best Buy, in which case you’ll probably come home with three screen protectors and a product service plan.

Google has released the Google Buzz widget for Android, which will make updating your status or tagging your location easier.

Google first launched Google Buzz for mobile about six weeks ago, and while the overall Buzz platform has undergone some changes and refinements, the mobile aspect of the service hasn’t really changed — until now.

One of my favorite Android features is that certain programs will let you use home screen widgets for easy access. This is most useful in a search or a social context — which is why having a widget for Google Buzz makes total sense.

The widget is only available in English right now, and it requires at least Android 1.6. Search “Google Buzz” in the Android Market to download the app. Once it’s downloaded, it can be added to your home screen the same way you add any other widget — click on your home screen menu, click on “add” select “widgets” and then select the option for Google Buzz.

When you use the widget, you can choose to either add a photo or series of photos or to declare your location and make your update public or private. Android users — does a Google Buzz widget make you more likely to use Buzz? Let us know!

Reviews: Android, Android Market, Google, Google Buzz

Tags: android, buzz widget, google buzz

Jim Carrey is a fraudster who falls for Ewan McGregor in a Texas jail. Peter Bradshaw enjoys an intriguing, offbeat comedy

Jim Carrey's rubbery, hyperreal face achieves a sheen of panic and desperate neediness in this stranger-than-fiction comedy drawn from real life. Steven Russell (Carrey) is a fraudster, a hypnotically plausible fantasist, and a formerly married ex-cop who comes out as a gay man, before finally getting sent to jail in Texas for insurance scams, and there finding the love of his life. This is the shy, young innocent Phillip Morris, nicely played by Ewan McGregor, who, like the rest of the world, trusts the exuberant and charming Steven implicitly. Morris himself tells his own story in a seductive, honeyed voiceover, rather like Reese Witherspoon's narration in Alexander Payne's Election.

Electrified by his new romance, Steven redoubles his fanatical determination to trick and manipulate the world around him to get what he believes he wants: Phillip. When his own prison term ends, Steven poses as a lawyer to get Phillip released on licence – forging documents, faking voices on the phone, and maintaining a series of inspired bluffs – and then constructs a massive, fraudulent career in both law and finance so that they can live together in luxury as a super-rich gay couple. But it isn't long before the police close in, and Steven has to demonstrate his almost superhuman talents for evading the law: shabby deceptions theoretically consecrated to his love for his beloved Phillip, who hasn't grasped how he has been made complicit and co-dependent in Steven's delusional career of lies.

This movie, from writer-directors Glenn Ficarra and John Requa – who wrote the Billy Bob Thornton comedy Bad Santa – is intriguing, at least partly because it is not immediately clear what it is centrally about. Steven's own lifelong identity crisis, which may stem from the traumatic discovery of having been adopted, has a parallel in the film. Is it about gay romance? Is it about a con man's criminal career? Are we, the audience, supposed to trust Steven Russell, to take him at his own estimation of himself?

Not exactly, no. Even calling him a fraudster doesn't describe the character Carrey plays. His compulsive lying is an addictive habit like kleptomania; it forces him to live in a growing web of relationships based on bad faith, from which more scams will be needed to escape. Like many liars, Steven has developed a lovably roguish personality as a cover for when he gets caught and has to admit guilt, and as a face-saving device to allow his dupes to grimace and pretend they sort of suspected as much. Steven is not a con man in the sense of a cool, rational grifter who knows exactly what he is doing and why. He is in the grip of a compulsion, which distracts him from a batsqueak of terror that he doesn't know what or who he is. Steven seizes messianically on his gay identity and his gay love for Phillip Morris. The title of the film is a kind of personal mission statement. But to the very end, this grand passion may not entirely explain his behaviour.

Steven's soon-to-be-ex-wife Debbie, played by Leslie Mann, asks a doctor if Steven's "gay thing and the stealing" are part of the same disorder. Steven's then-boyfriend Jimmy, played by Rodrigo Santoro, is disgusted by this homophobic remark. And yet Debbie, in her blundering way, has come close to something. It is not Steven's gayness that is of a piece with his stealing, but his pretending to be straight, and then pretending that his embrace of a gay identity is the solution to all his personal problems. What counts is the deception, and the way it melts into self-deception.

With its chequered and meandering story-path, I Love You Phillip Morris reminded me surreally of serial killer films like David Fincher's Zodiac, Cédric Kahn's Roberto Succo and Shohei Imamura's Vengeance Is Mine – about criminals whose modus operandi and repetitive patterns of behaviour look like a rationally pursued criminal "career" – but it is a career that could digress or disappear at any moment.

Carrey and McGregor certainly succeed in making it all funny. Carrey's anti-hero is, after all, a very clever man, who gets away with a lot of stuff because of a genuine mental ability, which he unfortunately supplements with lies. (There's a nice montage sequence in which Steven tells a "lawyer" joke at the office, and then overhears dozens of people retelling that same joke badly, revealing their various crass prejudices.)

And there is something funny and touching about this anarchic, abortive love affair, a chaotically doomed relationship that neither of the principals understand, and it is the very muddled and messy quality of this relationship that announces that it is drawn from real life. Steven's bluffs and blags are arguably just a crazily magnified version of the fake-it-till-you-make-it routine that many entirely honest people find themselves needing to use. Poor Steven does see himself as basically one of these decent, honest types. "Sometimes you've got to shave a little off the puzzle-piece to make it fit," he muses. The puzzle fits together very entertainingly here.

Rating: 4/5

• Comedy
• Jim Carrey
• Ewan McGregor

Peter Bradshawguardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

I've spent the last few hours going through the motions for summary judgment from both Google and Viacom in the YouTube case. If you'd like to kill a few hours yourself:

• Viacom Summary Judgment Motion (pdf)
• Viacom Statement of Undisputed Facts (pdf)
• Google Summary Judgment Motion (pdf)

There are few surprises made in the basic arguments by both parties. Viacom claims that YouTube knew about infringing content and should have taken it down (and that Google knew about this and then continued with that policy). Google claims that it's clearly protected by the DMCA's safe harbors. There are some interesting things raised in the filings however:

• Viacom claims that YouTube employees uploaded infringing content themselves, and discussed this over email -- though, the filings carefully provide only fragments of the emails, which could easily have been taken out of context. And, even on top of that nowhere does Viacom explain how YouTube employees could distinguish which content was actually infringing and which was put up for promotional purposes or what was fair use. This is a major weakness in Viacom's motion.
• Viacom's secondary arguments get weaker as you go down the list. It argues that because YouTube uses advertising to make money, that shows the company directly profits from infringement. That argument makes no sense -- because it would effectively wipe out any safe harbors for any commercial operation, which clearly was not the intent of Congress. Based on this argument, any ISP that hosts content from a paying customer loses its safe harbors. That's ridiculous on its face.
• Viacom argues that Google could have blocked uploads with fingerprinting technology it had licensed, but fails to note the massive weaknesses in those fingerprinting technologies (which we still see thanks to Google's bad automated takedowns). It tries to bolster this argument by saying that Google refused to use the fingerprinting on Viacom content unless Viacom agreed to license its content to YouTube. Perhaps there's more to it than this, but I think that's also taking Google statements out of context. The way the fingerprinting works is that Google would need copies of the content to be able to recognize them -- and the only way to do that is if Viacom licensed works to them.
• Then the arguments get really weak. Viacom says that Google isn't just a secondary infringer, but a direct infringer, due to the terms of service that say you're granting a license to YouTube, and because to work, YouTube converts uploaded video to Flash. This is a weird legal argument that has been rejected before.
• The crux of Viacom's argument rests on trying to break the DMCA safe harbors because Google and YouTube execs knew that there was a lot of infringing content on the site. But Viacom's argument breaks down entirely when you realize it doesn't explain how Google could ever make the actual determination of which videos are infringing. Viacom tries to get around this with some legal tap dancing, basically saying that it doesn't matter and Google just should have known what was infringing and what was not. But that makes no sense. Viacom is basically saying Google should have had a magic wand to figure out what's infringing and make it disappear. That's impossible. No law could possibly require Google to do the impossible. The fact that some of the videos Viacom sued over were uploaded by Viacom itself proves this point clearly.
• Viacom argues that because YouTube "licensed" its videos to Apple and Verizon Wireless phones, it shows that it's more than just a passive service provider. Again, this seems like a weak overall argument, as what YouTube was doing was licensing access to the videos in a more convenient format, not claiming control over the videos themselves.
• Viacom's lawyers also have a bit of fun at the fact that some old emails relevant to the case were deleted, even though it's not that ridiculous that not everyone keeps all their emails. The motion also mocks Google and YouTube execs for developing "serial amnesia" when presented with "evidence." But, again, Viacom was asking people to remember specific sentence fragments (potentially taken out of context) from years-old emails.
• The "big surprise" in the Google motion is that Viacom apparently tried to buy YouTube itself. While interesting as a historical nugget, I'm not really sure that really helps the case one way or the other. It doesn't change how Viacom may have viewed YouTube as a platform. The attempted purchase may just have been a way to try to co-opt it into a limited platform, like what happened with Napster.
• Google argues that it has gone above and beyond the DMCA's requirements in providing tools to help copyright holders. Viacom's counter argument, of course, is that those changes are more recent.
• For every claim made by Viacom that Google/YouTube execs made damning statements, it looks like Viacom's statements were even worse. For example: During these negotiations [to license content] Viacom deliberately allowed its content to remain on YouTube, in part because it thought that "having the content there was valuable in terms of helping the rating of our shows." Google effectively makes the case that Viacom knew the benefits of having its clips on YouTube, tried to negotiate with YouTube for a deal, and when Google came into the picture, basically Viacom just saw it as an easy money grab and massively upped its demands before suing. Google argues that the mass takedown and subsequent lawsuit was really just a negotiating ploy by Viacom to get an upper hand in the negotiations to squeeze more money out of Google.
• Amusingly, Viacom notes repeatedly in its own filings that YouTube didn't want to take down its videos because traffic to YouTube would suffer -- but Google counters by pointing out that it did take down all of Viacom's 100,000 takedown requests within hours and traffic to the site did not suffer and, despite Viacom's expectations to the contrary, traffic to Viacom's own sites did not soar. In other words, despite Viacom's over-inflated sense of how important Viacom's videos were to YouTube, the actual evidence suggests that Viacom was very, very wrong.
• Viacom tries to brush off the fact that it uploaded many videos itself, by saying (in a footnote) that most of those videos were clearly designated as being from Viacom. Google counters by pointing out that (a) this is not true and (b) Viacom repeatedly disguised who uploaded those videos on purpose -- even quoting Paramount's SVP of marketing saying that the clips "should definitely not be associated with the studio -- should appear as if a fan created and posted it." Among the users who uploaded Viacom clips on behalf of Viacom itself? MMysticalGirl8, Demansr, tesderiw, GossipGirl40, Snackboard and Keithhn On top of that, they registered with non Viacom email addresses, and even went to the local Kinkos to avoid uploading from Viacom directly. How Google was supposed to distinguish those clips from those uploaded by random users is not explained anywhere by Viacom, which is a hugely damning point against Viacom's case.
• Further damning to Viacom's case -- the fact that Viacom regularly had to backdown on its takedown notices after it was realized that the takedowns were incorrect. This is a point that we've made before and is driven home repeatedly in Google's filing. If Viacom itself can't get it right -- when it holds the copyrights and some of the videos were uploaded by itself -- how the hell is Google supposed to know which videos are legit and which are not?
• Even more amusing is the part that details how Viacom had incredibly complex and detailed rules with BayTSP (who monitored YouTube and sent the takedowns) over what should be taken down and what should be left up. Apparently, those rules changed every few days and the folks at BayTSP compared them to Crime and Punishment. Again, if Viacom required such a complex list of rules for its own partner, how could it expect Google to know what to do without knowing any of that information?
• Google also points out that many of the clips in question have serious questions over whether or not they could be considered fair use -- and those are questions for a court to determine. It is both unfair and outside the scope of the law to expect a third party like Google to be able to make that kind of decision on the fly.

In the end, it will surprise no one that I find Google's arguments significantly more compelling than Viacom's. The one point on which Viacom is strongest is the emails from the very early days of YouTube, where the founders and some employees admit that they know there's a fair amount of infringement on the site, and they debate what to do about it, before taking a fairly liberal approach -- though, never an approach that removes their safe harbors (Viacom disagrees on that point). In fact, the weaknesses of Viacom's argument are driven home in that nowhere was it able to produce a single bit of evidence of YouTube founders/execs being aware of a specific infringing video. All of the quotes are about general infringement. The lack of a smoking gun email to the contrary really weakens Viacom's case -- and is a glaring absence in the motion.

What this comes down to in the end is a basic interpretation of what the DMCA really says and means with its safe harbor provisions. Viacom's interpretation would effectively gut the entire purpose of the safe harbor provisions, disqualifying pretty much any commercial entity that allows user created content from gaining safe harbor protections. Such a reading makes no sense as it would make the DMCA safe harbors effectively meaningless.

Google's motion, on the other hand, is quite compelling and highlights how even if execs are aware of general infringement across the site, it was impossible for them to distinguish what was authorized and what was not, as well as what was fair use and what was not. To require a third party like Google to make such determinations would effectively gut the ability of pretty much any user-generated content site to exist -- which, again, would clearly go against Congress' intentions.

Still, with these sorts of lawsuits, you really never know how things will play out -- and judges often get blinded by "infringement bad, must punish!" type arguments. Hopefully, in this case, reason prevails.

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The third rendition of this horror tale -- known as the "Curse Killing Arc" -- takes an unexpected left turn, departing from the supernatural emphasis of the first two arcs in order to explore the very human face of evil.  This move is more than just effective storytelling -- it also offers an entirely new experience of a story the reader only thinks they already know.

Once again, it is important to know that each arc of Higurashi: When They Cry is a variation on a theme using the same basic characters and settings.  In each arc, a teenage boy named Keiichi moves to a small town which has long suffered under a supernatural curse that ensures at least one person dies each year during a special cultural festival.  Also, each arc generally ends up with the same result, which usually happens to be lots of people dying, disappearing, or going crazy.  Sometimes they do all three.  In varying order.  It is only the differing paths and arrangements of characters and relationships by which the end result is reached that distinguishes each arc from the others.  The remarkable thing about this particular horror story is how it lulls you into a sense of complacency after you've read a few arcs.   You think you know the rules the game, but with the third arc a number of rules from the first two are violated so thoroughly that I found myself rediscovering not only some of the original horror of the story, but new and unexpected horrors as well.

While the first two arcs seem to purposefully twist the shonen harem genre in delightfully warped ways, the third instead offers a tender portrait of genuine friendship.  Keiichi is no longer a mere "average boy" construct to be fawned over by a bunch of girls, who seem to exist only to make him lunch and may or may not turn out to be murderously evil.  Instead, as a recent transfer student to a very small town, he and new his neighbors are busy getting to know each other in realistically high-spirited ways for their age.   The most important of these friends -- Satoko -- is an elementary school student who delights in embarrassing the older Keiichi by pulling a series rather inspired pranks on him.  Importantly, Satoko and Keichi develop a strong and emotionally rich bond as Satoko sees her missing older brother in everything Keichi does.  In response to the clear absence in her heart, Keiichi is so moved he strives to become her replacement family.  While the other girls aren't given as much depth as Satoko in these volumes, Keiichi's circle of friends is still remarkable in that it actually includes other boys.  In other words, this arc replaces the harem with something completely different and in doing so creates a fertile ground for new ways to completely upend everyone's existence.

In previous arcs, when saw yourself from the main character's point-of-view, you were usually encouraged to wonder, "What if the cute girl next door wanted to kill me?"   Here a much darker and more disturbing question forms -- what kind of evil could possibly destroy such happy days and youthful and innocent friendships?  It is only because the bonds portrayed seem so genuine that it becomes necessary for the writer to create a force as equally powerful in order to break those bonds down.  What ends up intruding upon these happy days is the real world terror of domestic abuse in volume 6.  Keiichi is faced with the hellish reality that as a child he can't save his good friend, Satoko, from suffering at the hands of her horrible relative.  Driven to despair at his own powerless, Keiichi's attempts to "save" her only implicates him in the violence and terror Satoko wants to escape.

While child abuse is a surprisingly melodramatic turn for this narrative exercise in horror, it works particularly well here because of the emotional foundation laid so carefully in volume 5.  For the most part, the conclusion to the story succeeds thanks to its psychological portrait of children who are tragically cornered -- almost mentally tortured -- by basic human injustice.   The story, as always, relentlessly moves toward the terrible destruction of the characters, but in this case the cascading acts of violence -- culminating in one truly shocking event -- seem almost self-inflicted.  These two volumes have a much darker tone than the two previous arcs, as the psychology of violence replaces the strange logic of the supernatural, making this version all that much more compelling in its fresh take on the expected formula.

Review copies provided by Yen Press.

In anticipation of the upcoming immigration marches, Media Matters for America has compiled a review of the hateful and outrageous right-wing rhetoric surrounding the immigration debate in 2006.

Right-wing rhetoric: Immigrant-rights marchers, immigrants are seeking to reclaim the Southwest for Mexico

Right-wing rhetoric: Immigrant rights marchers are "racis[t]"

Right-wing rhetoric: Pro-immigration marchers should be arrested or deported

Right-wing rhetoric: Stoking fears over displays of the Mexican flag

Right-wing rhetoric: Immigration is an "invasion"

Right-wing rhetoric: U.S., Mexico are in a state of "war"

Right-wing rhetoric: Immigrants are fundamentally altering American culture or way of life

Right-wing rhetoric: Immigration reform is part of plot to institute "North American Union"

Other hate speech and outrageous rhetoric

Right-wing rhetoric: Immigrant-rights marchers, immigrants are seeking to reclaim the Southwest for Mexico

"Reconquista" is a discredited smear used by the right to generate fear of Latino immigrants. During the 2006 immigration debate, right-wing media repeatedly advanced the discredited smear that Mexican-Americans and Mexican citizens -- particularly "illegal aliens" -- are plotting to take over the U.S. Southwest for Mexico.

Dobbs referred to potential "army" of "illegal alien" "invaders" taking over Southwest. During an April 2006 broadcast of his now-defunct CNN show, Lou Dobbs introduced a report by stating: "There are some Mexican citizens and some Mexican-Americans who want to see California, New Mexico and other parts of the Southwestern United States given over to Mexico. These groups call it the reconquista, Spanish for reconquest. And they view the millions of Mexican illegal aliens in particular entering the United States as potentially an army of invaders to achieve that takeover." Correspondent Christine Romans reported, "Long downplayed as a theory of the radical ethnic fringe, the la reconquista, the reconquest, the reclamation, the return, it's resonating with some on the streets," and went on to say: "A lot of open borders groups disavow it completely. But the growing street protests in favor of illegal immigration, Lou, are increasingly taking on the tone of that very radicalism." [CNN's Lou Dobbs Tonight, 4/31/06]

CNN reporter referenced "the Vicente Fox Aztlan tour," used "Aztlan" graphic sourced to hate group. Lou Dobbs Tonight correspondent Casey Wian characterized then-Mexican President Vicente Fox's trip to Salt Lake City, Utah, as a "Mexican military incursion" and claimed that "[y]ou could call" Fox's trip to the United States "the Vicente Fox Aztlan tour." During Wian's report, CNN featured a graphic of "Aztlan" that was sourced to the Council of Conservative Citizens -- an organization whose "Statement of Principles" reads: "We also oppose all efforts to mix the races of mankind, to promote non-white races over the European-American people through so-called 'affirmative action' and similar measures, to destroy or denigrate the European-American heritage, including the heritage of the Southern people, and to force the integration of the races." [Lou Dobbs Tonight, 5/23/06]

Malkin: "[T]he vast majority of mainstream Hispanic politicians" embrace "the intellectual underpinnings of reconquista." On Fox News' The O'Reilly Factor, columnist and blogger Michelle Malkin declared that protesters in Los Angeles were "people who believe that the American southwest belongs to Mexico, that we don't have a right to enforce our borders, and who do nothing more than try to sabotage our sovereignty." Malkin later added that "the kind of quote-unquote 'pride' that a lot of these illegal alien activists are touting now goes much further than just being proud about one's heritage and one's roots. The idea, the intellectual underpinnings of reconquista, are embraced by the vast majority of mainstream Hispanic politicians." [Fox News' The O'Reilly Factor, 3/30/06]

Wash. Times editorial: Protesters approve of "reconquista" agenda. A Washington Times editorial accused Latinos who protested against a proposal to restrict immigration of either supporting or having given "tacit approval" to the "reconquista" agenda of "Hispanic radicals," which the editorial said was the "reconquering of Mexican land lost during the Mexican-American war." [The Washington Times, 3/30/06]

Fox's Gibson suspicious that Latino advocacy groups are set on "retaking old Mexico territories ... by pure birth rate." While saying that he was citing an internal email from the National Council of La Raza, John Gibson claimed on his Fox News show that he was suspicious that advocacy groups like the NCLR favor "the so-called reconquista," which Gibson described as the "retaking of old Mexico territories, which are now part of the United States, by pure birth rate." Gibson also asserted that the NCLR "is a group dedicated to the betterment of the race," adding, "good, but try being American while you are at it, guys." [Fox News' The Big Story with John Gibson, 4/3/06]

O'Reilly: Purported immigrant protest "organizers" have hidden "hardcore militant agenda" to take back American Southwest. On his radio show, O'Reilly said that the "organizers" of immigrant rallies have a "hardcore militant agenda of 'You stole our land, you bad gringos.' " O'Reilly said that the "slogan" of the demonstrations' organizers was "[W]e didn't cross the border, the border crossed us," and that this meant that the organizers believed that Americans "stole [their] land." The organizers' hidden "agenda underneath," said O'Reilly, was that "now, we're going to take it back by massive, massive migration into the Southwest." [Westwood One's The Radio Factor with Bill O'Reilly, 5/1/06]

Buchanan: "Chicano chauvinists and Mexican agents" want to "take back through demography and culture what their ancestors lost through war." In his book, State of Emergency: The Third World Invasion and Conquest of America, published in August 2006, MSNBC contributor Pat Buchanan wrote: "Chicano chauvinists and Mexican agents have made clear their intent to take back through demography and culture what their ancestors lost through war." He also wrote that the United States must keep "Americans of European descent" from becoming the "minority" in order to "survive[]." [State of Emergency (Thomas Dunne Books)]

Malkin: "[W]e saw ... that supposed fringe" that favors reconquista "come out into the mainstream." O'Reilly said to Malkin, "So I know that there's an undercurrent of militancy that says, 'Hey, this is our territory. You stole it from us in the Mexican-American War. We're going to take it back now by illegal immigration.' But I think that's a fringe, nutty group, not the mass of millions that we have." Malkin replied: "Well, I guess I disagree with you there, Bill, because I mean, we saw in April and May of this year [2006] that supposed fringe come out into the mainstream. And it wasn't just a dozen folks who are ensconced in the ivory tower who believe that the Southwest is Aztlan and it belongs to them." O'Reilly later asked her: "You think that this massive immigration to the United States, 15 million strong, is a part of a plan to bring back territory to Mexico?" Malkin responded: "Well, I take the Mexican government at its word when it says that is exactly its plan." [The O'Reilly Factor, 8/23/06]

Right-wing rhetoric: Immigrant rights marchers are "racis[t]"

Malkin: "[M]ilitant racism from another protected minority group was on full display" from "Latino supremacists." In her syndicated column, Malkin wrote of immigration rallies, "Well, this weekend, militant racism from another protected minority group was on full display. But you wouldn't know it from press accounts that whitewashed or buried the protesters' virulent anti-American hatred." Malkin also wrote: "Apologists are quick to argue that Latino supremacists are just a small fringe faction of the pro-illegal immigration movement (never mind that their ranks include former and current Hispanic politicians from L.A. Mayor Antonio Villaraigosa to former California Democratic gubernatorial candidate Cruz Bustamante)." [Creators Syndicate column, 3/29/06]

Savage: "[B]rown supremacists" are "behind these protests." On his nationally syndicated radio show, Michael Savage said: "So, it seems to me that there's a certain group of immigrants that's not very happy and they're all Hispanic. I don't see any other racial group out there in the streets, do you? Now, that's very interesting. I'm not allowed to raise the issue or the specter of brown supremacists behind these protests. Don't tell me this is all about compassion for immigrants, because it is not at all only about compassion for immigrants. They are trying to provoke the takeover of the United States of America." [Talk Radio Network's The Savage Nation, 4/11/06]

Right-wing rhetoric: Pro-immigration marchers should be arrested or deported

Fox's Asman wondered whether marches are a perfect chance to "round up these lawbreakers and ship them out." Guest-hosting Fox News' Your World, David Asman discussed nationwide protests of immigration reform and wondered: "With so many illegals hitting the streets, is this the perfect time to round up these lawbreakers and ship them out?" As Asman spoke, the on-screen text read: "Round 'Em Up?" Later, the text read: "Perfect Chance to Arrest Illegal Immigrants?" [Fox News' Your World with Neil Cavuto, 4/10/06]

Smerconish: "[L]aw enforcement ought to step in" at immigration demonstrations and consider "gathering ... up" undocumented immigrants. Guest-hosting MSNBC's Scarborough Country, Philadelphia-based radio host Michael Smerconish suggested that "maybe law enforcement ought to step in" at pro-immigration demonstrations and consider "gathering ... up" undocumented immigrants. Smerconish wondered why there was "zero discussion" of "gathering them up" at the demonstrations, when "[a]ll I keep hearing is how would we ever find them?" [MSNBC's Scarborough Country, 4/10/06]

Doocy suggested "round[ing] them up right then, when they're saying, 'Hey, I'm right here.' " On Fox & Friends, syndicated radio host Erich "Mancow" Muller announced that he was "having a big rally here in Chicago" for a "group" that he said was "pro-illegal murder and illegal car thieves." Muller added: "We're just getting together, and we're going to be out on the street. We're for illegal murder and illegal car thievery. So, we just like illegal stuff." Muller added: "I just like illegal murder and illegal car thieves. So, you know, it's illegal, but -- and, in fact, all the people who have done it are going to be out there on the street, and hopefully, none of the cops will come arrest us." Co-host Steve Doocy then said: "Yeah, you wouldn't want to round them up right then, when they're saying, 'Hey, I'm right here.' " [Fox News' Fox & Friends, 4/3/06]

Right-wing rhetoric: Stoking fears over displays of the Mexican flag

Media figures attacked Mexican-flag wavers, but not those waving Irish, Italian, or Israeli flags. Following immigration rallies, media figures criticized demonstrators for carrying Mexican flags, but the same media figures had not complained about people waving other nations' flags, such as Irish flags at St. Patrick's Day events, Italian flags at Columbus Day events, or Israeli flags at Israel Day events. Some commentators even dismissed the comparison. For instance, National Review editor Rich Lowry called the Mexican-flag waving "more ominous" than the St. Patrick's Day or Columbus Day displays.

Savage: "[B]urn the Mexican flag!" On his radio show, Savage urged his listeners to "burn the Mexican flag" in opposition to undocumented immigrants, telling them to "[b]urn a Mexican flag for America, burn a Mexican flag for those who died that you should have a nationality and a sovereignty, go out in the street and show you're a man, burn 10 Mexican flags, if I could recommend it. Put one in the window upside down and tell them to go back where they came from! And if that's a little to xenophobic for you, ask yourself why the xenophobes from Mexico wave their flag in your country." [The Savage Nation, 3/27/06]

Fox News: Waving Mexican flag shows "antagonistic edge," waving U.S. flag "just a cover" and "a ploy to win America's support." Asman cited demonstrators' use of Mexican flags as evidence of "an antagonistic edge" and suggested that the use of U.S. flags and signs written in English at pro-immigration demonstrations was "just a cover" by the demonstrators to conceal their "real intention, which is to keep things as normal among illegal immigrants in the country." Similarly, Neil Cavuto suggested that the pro-immigration demonstrators' U.S. flags were "just a prop" and "just a ploy to win America's support." [Your World with Neil Cavuto, 4/10/06; 4/11/06]

Right-wing rhetoric: Immigration is an "invasion"

Buchanan: Illegal immigration is "an invasion of the United States of America" and "[t]he whole world is coming." On MSNBC's Hardball, Buchanan claimed that the influx of undocumented immigrants into the United States is "not immigration" but "an invasion of the United States of America" that is "coming not only from Mexico," but "from the whole world." He reiterated: "The whole world is coming." [MSNBC's Hardball with Chris Matthews, 5/15/06]

Savage: "This is an invasion by any other name." Savage said, "We, the people, are being displaced by the people of Mexico. This is an invasion by any other name. Everybody with a brain understands that. Everybody who understands reality understands we are being pushed out of our own country." [The Savage Nation, 3/27/06]

Buchanan: "This is an invasion, the greatest invasion in history." In State of Emergency, Buchanan wrote of immigration: "This is an invasion, the greatest invasion in history." He also wrote: "We are witnessing how nations perish. We are entered upon the final act of our civilization. The last scene is the deconstruction of the nations. The penultimate scene, now well underway, is the invasion unresisted." [State of Emergency]

Right-wing rhetoric: U.S., Mexico are in a state of "war"

Tancredo: [W]e are at war with Mexico, in a way." On Fox News' Hannity & Colmes, WorldNetDaily.com columnist Tom Tancredo -- then a Republican congressman from Colorado -- said, "[I]n a way, we are at war with Mexico, in a way. I'll say it in this way: Mexico is aiding and abetting an invasion of this country. They are part of the problem. They are doing what they are -- in fact, they are creating situations along that border using their own military to protect drug trafficking into the United States, pushing their own people into the United States for a variety of reasons. It is an invasion. It is an act of aggression." [Fox News' Hannity & Colmes, 6/26/06, transcript from the Nexis database]

Beck sidekick Gray: "[W]e are in a war with Mexico right now." Pat Gray, who is now a co-host of Glenn Beck's radio show, appeared on Beck's then-CNN Headline News show and claimed that "we are in a war with Mexico right now." After Beck agreed that "we better wake up soon," Gray responded: "[O]r we're going to wake up dead." [CNN Headline News' Glenn Beck, 9/25/06]

Right-wing rhetoric: Immigrants are fundamentally altering American culture or way of life

O'Reilly claimed to have exposed the "hidden agenda" behind the immigrant rights movement: "the browning of America." O'Reilly claimed that during his Fox News show, guest Charles Barron, a New York City councilman, had revealed the "hidden agenda" behind the current immigration debate. O'Reilly told his radio listeners: "[T]he bottom line is Charles Barron said last night is there is a movement in this country to wipe out 'white privilege' and to have the browning of America." But in the interview, Barron at no point claimed that he and other advocates for immigrant rights are motivated by a desire to force white Americans into the minority -- despite O'Reilly's repeated efforts to provoke such an acknowledgment. [The Radio Factor with Bill O'Reilly, 4/12/06]

Beck: "[I]llegal immigrants are attacking our culture, and our way of life." On his then-CNN Headline News show, Beck said, "[A]t the very least, illegal immigrants are attacking our culture, and our way of life. They are not melting into our melting pot -- they're here for the cash." He later said, "I mean, we've got all these threats coming in from overseas, but the simplest way is for us to lose the culture of the West is just to do nothing and let illegal immigrants not melt in and take the culture away from us." [Glenn Beck, 8/24/06]

Buchanan: "They're not welcome to come here and insult the symbols of our country, and that's what these outsiders have done." On Scarborough Country, Buchanan said that a Spanish-language version of "The Star-Spangled Banner" is "a provocation and an insult" and that immigrants are "not welcome to come here and insult the symbols of our country, and that's what these outsiders have done." Buchanan then said that the Spanish recording is "a good thing in this sense: The American people are awakening to the character of these people." [Scarborough Country, 5/1/06]

Matthews: Republicans "have a right to fear" a "cultural change" that would result in their hometowns "becom[ing] overwhelmingly Mexican." On Hardball, Matthews claimed that House Republicans who had passed a bill that would apparently have criminalized undocumented immigrants, their employers, and those who provide aid to them "have a right to fear" a "cultural change" that would result in their home states and towns "becom[ing] overwhelmingly Mexican." Matthews was responding to a suggestion by guest Amy Goodman, host of Democracy Now, that "the Republicans who passed the House bill" are "afraid" that the United States will soon have "a majority Latino population." Matthews later said, "It's not my point view necessarily," before suggesting that "90 percent of this country" agrees with the "viewpoint" that "I didn't move to Mexico; Mexico moved to me, and I'm complaining about it." [Hardball with Chris Matthews, 3/30/06]

O'Reilly: "[Y]ou're on a nice block ... and then the house next to you is turned into an illegal alien Club Med." On his radio show, O'Reilly said:

You've got the folks who don't have emotion invested in it, other than the farmers down and the ranchers down on the border are going -- as the lady just called up, [caller] -- say, look, I got garbage in my -- on my ranch every day. I mean, I'm under siege. They have emotion invested in it. But those of us up here don't.

Unless you live in a town, like Farmingville, Long Island -- we went over this before -- where you bought a house, you spent a couple of hundred thousand dollars, you're on a nice block, your kids are happy, and then the house next to you is turned into an illegal alien Club Med. And this happens all over the country. [The Radio Factor with Bill O'Reilly, 3/27/06]

Buchanan: "I think what's coming is the complete balkanization of America." On Hardball, Buchanan said, "I think what's coming is the complete balkanization of America, and I'm afraid it's going to be by ethnicity and culture, and language, and every other way. ... And so, then, it's not like the country you and I grew up in, Chris, whereby we were monocultural. We were monocultural." [Hardball, 6/5/06]

O'Reilly wondered whether children of Mexican immigrants in U.S. "have any kind of traditional value system" or are "setting up Acapulco North." On his radio show, O'Reilly wondered whether children of legal and undocumented immigrants from Mexico who are attending school in the United States "have any kind of traditional value system at all, vis-à-vis what America used to be," or whether they are "taking their Mexican values, because most of them are Mexicans, and, you know, basically setting up Acapulco North." [The Radio Factor with Bill O'Reilly, 8/15/06]

Buchanan: "You're going to have a giant Kosovo in the Southwest, which de facto is going to secede." On Scarborough Country, Buchanan said: "[Y]ou cannot absorb 40 to 60 million more people. You're going to have a giant Kosovo in the Southwest, which de facto is going to secede from this country." [Scarborough Country, 6/5/06]

Buchanan: Immigration will turn U.S. into "a polyglot boarding house for the world, a tangle of squabbling minorities." On CNN's The Situation Room, Buchanan warned that "[w]e'll become a polyglot boarding house for the world, a tangle of squabbling minorities." He continued: "The problem with the immigration, basically -- let's take Mexico -- is these folks are breaking the law, first. Secondly, they're coming in huge numbers, like no other group before. Third, they're from a contiguous nation. Fourth, 58 percent of Mexicans believe the Southwest belongs to them. Fifth, the Mexican government is pushing them in here, and it's got a political and ideological agenda." [CNN's The Situation Room, 8/28/06]

Right-wing rhetoric: Immigration reform is part of plot to institute "North American Union"

"North American Union" is an absurd conspiracy theory. Right-wing media, including Dobbs, have obsessively warned that elements in the U.S. government are secretly plotting to merge the United States with Mexico and Canada in a "North American Union" similar to the European Union. During the June 21, 2006, edition of his CNN show, Dobbs stated that "the Bush administration is pushing ahead with a plan to create a North American union with Canada and Mexico" and later asked: "Do you think, our question is, maybe somebody should take a vote if we're going to merge Canada, Mexico and the United States as the leaders of the three countries are attempting to do with the security and prosperity partnership? Yes or no. Cast your vote at LouDobbs.com." Dobbs' CNN colleague Suzanne Malveaux later described the North American Union rhetoric as "conspiracy theor[y]." [Lou Dobbs Tonight, 6/21/06]

Corsi: "North American Union ... was the hidden agenda behind the Bush administration's true open borders policy." Jerome Corsi, co-author of Unfit for Command: Swift Boat Veterans Speak Out Against John Kerry, wrote in a column that "President Bush is pursuing a globalist agenda to create a North American Union, effectively erasing our borders with both Mexico and Canada. This was the hidden agenda behind the Bush administration's true open borders policy. Secretly, the Bush administration is pursuing a policy to expand NAFTA politically, setting the stage for a North American Union designed to encompass the U.S., Canada, and Mexico." [HumanEvents.com, 5/19/06]

WND's Farah linked Bush guest-worker proposal to plan by "one-worlders" to merge U.S., Mexico, Canada. Appearing on a radio show, WorldNetDaily founder and editor Joseph Farah claimed that the "one-worlders" of the Council on Foreign Relations have a plan to merge the United States, Mexico, and Canada by 2010 and suggested that Bush's proposed guest-worker program is part of this plan. Farah said, "Sometimes, the conspiracies are right." [American Family Radio's Today's Issues, 4/4/06]

Buchanan: Vicente Fox's "ultimate goal" is making Mexico and U.S. "basically part of the North American Union." On Lou Dobbs Tonight, Buchanan said, "The government of Mexico is pushing its poor and unemployed into the United States to ease social pressure on itself. Secondly, they get $16 billion in remittances back to Mexico. Third, it is awoken to the idea that it can reannex the American southwest, which it used to hold, linguistically, culturally, ethnically and socially, not militarily by pushing all these people in there and creating a gigantic fifth column in America." Buchanan added: "The ultimate goal of Vicente Fox is the erasure of the border between the United States and Mexico. He has said as much and to make the two basically part of the North American Union in which Mexico will get ... a constant flow of cash from the wealthy USA and La Reconquista is the objective." [Lou Dobbs Tonight, 9/5/06, Nexis transcript]

Other hate speech and outrageous(...)

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*Additional reporting by Tamar Weinberg

When we write about how companies or individuals are using social media in their marketing strategies, it’s usually in the context of a business to consumer relationship. However, business-to-business (B2B) marketing is really getting a boost from social media as well. According to a recent study, 60% of B2B marketers plan to increase social media marketing spending this year.

As we discussed earlier this week in the context of PR professionals and social media, even non-B2B-centric services like Twitter and Facebook can still offer great opportunities for B2B shops. Sometimes, the approach is the same as it would be in non-B2B marketing, sometimes it can be very different.

Figuring out how to best implement and harness social media in the course of B2B marketing can be difficult but we’ve put together ten tips to help get you on the right track!

1. Use Twitter Effectively

This may seem like a no-brainer, but plenty of businesses and even B2B marketers aren’t on Twitter. Get an account on Twitter and start engaging. While having profiles on other social media platforms like Facebook and LinkedIn can be equally important, Twitter remains one of the best ways to find and engage with others.

How do you do that? Start by searching for phrases relevant to your business and by monitoring those searches regularly. Look at what people are saying and join in the conversation. If people aren’t necessarily looking for your business offerings right away, start joining other conversations of interest. The more you build bridges, the more likely you are to be noticed.

Second, use hashtags. The #B2B hashtag, for example, will connect you with several other like-minded businesses who are also trying to leverage Twitter to build an online presence. Don’t overdo it, though. There are some people #who #tweet #like #this.

We’ll discuss this in the next point, but consider Twitter to be an informal medium. With social media, businesses can (and should) be human again. That’s why it’s safe to use Twitter not just for pure self promotion but to build a meaningful relationships with those who you are likely to do business with you in the future. If you feel comfortable using your business Twitter feed to talk about what makes you tick (versus purely promoting your business), you might be pleasantly surprised to see that your audience might very well be receptive to that messaging.

What’s great about Twitter, especially from a B2B perspective, is that you can follow just about everyone. Take advantage of the opportunity to follow your industry influencers, connect with potential customers, and keep a heads up on the competition.

A great example of Twitter usage from a B2B perspective is @salesforce. Salesforce has used its Twitter feed to share relevant news, to empower current customers, and to offer customer support.

2. Figure Out Your ‘Social Voice’

Social media works best when it is personal and authentic, and thus, it’s important to make sure that the way you communicate when using social media tools comes from a personal and authentic place.

Kevin Dugan, the Director of Social Marketing for Empower MediaMarketing recently wrote a blog post about finding your social voice. I spoke with Dugan about establishing a social voice, and he had this to say:

“It is critical that brands understand a social voice is different from brand voice. Social voice reinforces the brand voice indirectly. Social voice doesn’t follow communication guidelines or identity standards. That’s because a social voice equates to a person. A brand voice is anonymous while a social voice can be found on Google. They must also have an understanding of the brand and a passion for it.”

Social networks are now helping to put the “human” back in businesses again. The traditional messaging of yore has been replaced by businesses who actually appear to show that they care about their customers. With a social voice, informal is perfectly acceptable. Having a social voice, as opposed to just a generic “brand voice,” is an important step when connecting with potential customers. Prospective customers want to connect with businesses who think just like them.

Just because your clients are other businesses doesn’t mean that the “social” aspect of social media needs to disappear.

3. Take Advantage of Opportunities on LinkedIn

LinkedIn is continuing to get bigger and bigger — and it continues to be a great resource for businesses and employees to connect with one another.

One of the best things about LinkedIn is the Shared Connections feature. This feature makes it possible to find people — like potential clients — and then see what connections you have in common. Shared Connections then makes getting a virtual introduction that much easier.

Building up a strong LinkedIn network and being willing to introduce others (in good faith, of course — always use your best judgment) can also increase what opportunities you can get in the future.

B2B marketing is often built through trust and word of mouth. Having a shared connection is a great way to start establishing some of that trust from the very beginning.

LinkedIn also has a community of active participants. LinkedIn Answers serves as a knowledge base where business representatives can establish authority and expertise by participating in the ongoing discussions. LinkedIn Groups is an opportunity for business professionals to interact with other topics relevant to his/her interests. One business successfully used LinkedIn Groups as a way to build business leads. This business opted to engage in relevant industry discussion and offered business services when requests were made, thereby bringing in a highly targeted business lead. Actively participating in LinkedIn is often one of the best ways to not only help people out, but also to make a connection for your service and even generate leads.

Answering questions across LinkedIn Answers and LinkedIn Groups doesn’t mean to simply put out the marketing blurb, but to really engage and offer feedback and solutions. Again, social media is most effective when it is genuine.

4. Start a Blog

Social media provides the opportunity for companies to promote themselves but also to welcome commentary from a community of peers. By starting a blog, you give your readers an opportunity to see you with your social voice outside the typical corporate website’s newsroom. Blogs become platforms where you can announce new product releases, share personal company stories, answer any specific questions from your customers, and empower customers to achieve success with your products and service offerings. Blogging can also establish business professionals as thought leaders in their field, thereby aiding with client acquisition.

Blogs can build up qualified prospects through search engine rankings too. Be sure to update your blog regularly with valuable content and follow up with the comments written on each individual post.

5. Monitor Your Industry

Social media means that content is being posted everywhere, and businesses have a unique opportunity to gather intelligence to make well-educated and informed business decisions. Google Alerts is a great tool to keep up with what’s happening in relation to your company, your industry and your competitors. You can get updates via e-mail or in RSS (and even in real-time) about new search results or news stories for a certain query or topic.

Further, free tools like Social Mention and YackTrack will monitor the social sphere for other mentions of your business on social sites, especially. BackType will take that a step further and monitor phrases in comments on blog posts. All of these aforementioned services can be emailed to you in a daily digest format which your team can evaluate to find opportunities.

If you don’t already have alerts set up on these services for your company name, do it now. Also set up a more generic alert for your industry as a whole to see what people are talking about. If you want to see what your competition or other big industry players are doing, add those to the mix as well.

Monitoring can also be useful because you can then highlight the big stories on your own social media channels like Facebook, Twitter, Google Buzz, etc.

6. Be Consistent and Don’t Be Afraid to Follow Up

While you don’t want to be creepy (see below), it’s important to not let potential opportunities slip by when using social media. If you’ve answered someone’s question on LinkedIn or on Twitter, don’t be afraid to reach back out to that person to ask if they have any follow-up questions or if you can send them more information. There’s an abundance of opportunity to strengthen a business relationship but it starts by initiating and then making sure that your business is fresh in your prospects’ minds.

Staying engaged and staying communicative is really important. Social media is not about setting it and forgetting it. It’s about being social, so don’t be afraid to reach out and check back in with potential leads you meet using social media. Similarly, don’t be afraid to direct message your followers on Twitter when an opportunity presents itself. They followed you because they want to hear from you. Use that opportunity to your advantage but don’t overdo it. Auto-DMs are a no-no.

If you’re going to blog, don’t leave that blog stagnant. Provide valuable content on a regular basis. Give employees of your company an opportunity to help build your brand. You can get a lot of great blog content by involving many company employees in the process. Similarly, get many employees of your company to utilize the social networks and to be continually responsive to customer inquiries. Remember, the more visible you are on the social networks, the more likely you are to be remembered when another business actually needs to utilize your services.

7. Leverage Your Analytics for Business Metric Measurement

After you’re involved enough in the social space, you’ll likely see tweets, retweets, traffic, and social network links that point to various parts of your company website. Take a look at your website analytics and start seeing where you’re making a difference, especially as it relates to ROI measurement. Don’t lose sight of your business metrics and start considering practical social media measurement to assess clickthroughs, popularity of links, and other important metrics.

As part of measurement, consider using URL shorteners. Not only do they make links more manageable (and limit the number of characters in a Tweet or Facebook message), they also can be a great way to track data as many URL shorteners provide valuable statistics about the performance of each individual shortened URL. Monitor this data throughout the process with your main website analytics package to see if your message attached to the shortened URL resulted in conversions.

When looking at conversion trends or successful tools in building leads with social media, reviewing analytics data is crucial. It gives you insight into content that performs very well in the social space but also through other marketing techniques, such as search engine optimization. Use the data as an opportunity to improve your content or your social media/search marketing efforts.

8. Find and Follow Industry Influencers

B2B social media marketing is often about connecting with the right people and about building relationships. Social media makes both of these actions simple and painless. Being aware of who the influencers in your industry are and then following them, whether it’s on Twitter, Facebook or their own blogs, is the first step to building a connection with those influencers. With a genuine relationship, these influencers may be able to help you make your mark in the social media marketplace. This is especially true of influencers who may already have your target audience at their disposal.

This doesn’t mean you need to retweet every tweet or share every blog post on Facebook, but it does mean that you should be aware of who the movers and shakers are. By following them and then reaching out when appropriate or just to get to know them further, you have a much better shot at getting some attention.

Even if you’re not necessarily connecting to influencers, social media affords the opportunity to connect with other people in your industry and your customers. Use the various social media platforms as an opportunity to connect with these industry colleagues and peers and build upon each other. Consider celebrating your colleagues’ or customers’ success. Make it known that you’re here to help them — not just yourself. Repeat this process with anyone of interest and you’re bound to attract eyeballs.

9. Use Social Media for Giveaways and Promotions

Sometimes, the hardest part of social media is sticking out from the sea of other users. Giveaways and promotions are a great way to help differentiate yourself and your business. Using Twitter, LinkedIn and Facebook, you can target your desired customer base and then let them know (if appropriate) about different promotions or giveaways related to your product. If you offer a service, consider giving a free year to a loyal customer. If you manufacture products, give some away.

Offer a coupon on your company’s Facebook Page and pair it with a lead-generation form for future contact. Let people know on Twitter about specials or contests that are going on and follow-up with those that show an interest. Perhaps you can have a retweet contest where you can monitor responses or host some trivia on your Facebook Page. You can also open an online survey to get feedback about your offerings and reward participants. The possibilities are endless. Creativity in this capacity breeds success.

Companies like Wildfire make it really easy to build these sorts of promotions directly inside your own social media channels.

10. Don’t Be Creepy

If you use social media like a keyword searching robot, you are going to come across as creepy and turn off potential clients. Don’t be creepy.

Use best judgment and common sense when approaching people using social networks. If you wouldn’t want to be approached the way you are approaching another user, don’t use that approach. It’s as simple as that. Social media etiquette isn’t much different than real life relationships, so what won’t work in “real life” probably won’t work online.

Respecting boundaries doesn’t mean you can’t still answer questions, engage and follow-up with potential leads, it just means that if it’s clear that the other party isn’t interested, or more importantly, if the context of their communication really doesn’t involve or seek out input from your company, don’t do it.

Context is really important in social media and it is something that is very, very easy to overlook. While we think that using keywords and Google Alerts are good methods for keeping atop of your field, that doesn’t mean you can automate your responses or just go into autopilot based on those alerts.

Your Tips

There are many different social media marketing opportunities for B2B, and there’s great potential for success as more companies jump on the social media bandwagon. How do you use social media in B2B marketing? What tips can you suggest to others? Let us know!

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Tags: b2b, b2b marketing, b2b marketing series, facebook, linkedin, MARKETING, twitter, wildfire

Beyond being a world famous musician, engineer, producer and journalist, Steve Albini has long been pretty outspoken about the music business itself -- and while I don't always agree with him, I appreciate that he speaks his mind and often presents his arguments in ways that make me think and reconsider some of my own positions. herodotus points us to the news of some comments Albini recently made at a conference about the music business, with a great quote about the focus of so many on royalties: "Royalties are a means to pay producers in the future -- and in perpetuity -- based on record sales," said Albini, who is also a music journalist. "If a band does a show, blows a whole bunch of minds and a bunch of people become fans and go out and buy millions of records, the producer gets paid. I think that's ethically unsustainable.

"I don't think you should pay a doctor extra because a patient doesn't die. I think the doctor should be busting his ass for every patient. I don't think I should get paid for someone else's success." I'm guessing that we'll get a fair amount of disagreement in the comments, but I think it's a point worth considering. So many creative industries get really hung up on royalties and collective licensing and other aspects -- when those are basically lottery tickets, relying very much on what other people do, not on the work you actually do. And it leads to this entitlement mentality that we see all the time, where certain content creators feel they need to get paid every time their content is used -- even if they didn't do any additional work on it. This is what all the ongoing legal battles about collective licensing and royalty rates are about. This is what the Hollywood writers' strike from a few years ago were about. They're ongoing attempts to keep getting paid over and over again for one thing you did in the past. Most jobs don't work that way -- and that's the point that Albini is making.

Now, some will argue, of course, that the entertainment industry is "different," because it involves more speculation: no one knows if the content you create will be a hit, so the concept of royalties is a way to deal with that. But that assumes a rather static market, and pays little attention to the entitlement mentality that it creates. If you have a hit, charge more for future work -- rather than focusing so much on getting paid over and over and over again just for that one piece of work you did in the past.

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By Tim Conneally, Betanews

For more than five years, Netflix has had a feature called "Friends" which lets users connect their Netflix account with others so they can view each other's queues, suggest movies to each other, or see how a movie ranks against their peers' ratings.

Todd Yellin, Netflix VP of Product Management said that after six years, only two percent of subscribers actually used the feature, so it is going to be phased out in the coming months.

"No company has unlimited resources and we decided to move engineering development time and resources from a little used feature to support and maintain the things that benefit all Netflix members as the service evolves ??" more devices for streaming and better encoding, for example," Yellin said.

Streaming, by comparison, is an absolute smash. Yellin said that roughly 50% of all Netflix subscribers use the Instant Streaming feature on their TVs, set-top boxes, and game consoles.

Unfortunately, the way the change became evident was rather clumsy.

Last week, Netflix implemented a new "Movie Detail" page on its Web site, which eliminated top 10 lists, friend ratings, and the ability to send movie notes. The features were still on the site, but their tabs were just removed from the page. Customers who used the "friends" feature were upset.

On a Hacking Netflix article about it last week, one commenter said, "The Friends feature and Top Ten Lists are *not* on individual movie pages any longer. Reviews from random Netflix users *are* there, however, and that makes absolutely no sense. Why would I care more about a random Netflix user's opinion than my friends'?"

Rather than letting subscribers know up front that the feature was in the process of being removed, Netflix just pulled the feature from its prominent position and relegated it to the background.

"We fumbled the ball this week," Yellin said. "In making some changes to the Movie Display Page we didn't fully communicate how they impact users of the Friends feature, and we owe you that. We've read every blog post, Tweet, news article and call log to Customer Service by those of you who are upset about this decision. To you, we apologize for not being more upfront earlier. We appreciate your passion and we understand your disappointment and frustration. Our decision is meant to benefit all Netflix members by allowing everyone to enjoy more movies and more TV episodes on more devices while still receiving the unbeatable convenience, selection and value that are the hallmarks of the Netflix service."

Copyright Betanews, Inc. 2010

As we’ve seen in the past, a music video can launch a band into the indie stratosphere when shared in the online space — YouTube even got hip to the trend with its Musician’s Wanted program. This state of affairs got us wondering: How do some of today’s up-and-coming indie acts use online music videos in their quest for stardom?

To answer said query, Mashable reached out to an array of SXSW’s finest — bands both on the the brink and over. Some gave us serious answers about how music videos fit into their artistic scheme, others — not so much (ahem, Das Racist).

Check out their answers below. We hope to add more as the musicians we contacted find their way to computers. Note: Some of these vids are slightly NSFW.

The Pains of Being Pure at Heart

What’s your favorite music video?: [Kip Berman, lead singer] I like the “Everything With You” video because it feels really natural and good. [Keyboard player and Buzzfeed editor] Peggy and her BFF Carlen are hanging out and doing fun stuff together. It fits nicely with the song, which is about hanging out with your BFF and doing fun stuff together. It doesn’t seem phony, yet it’s not careless or entirely haphazard, either.

How important are online music videos when it comes to publicizing a band? How have they functioned for you?: It’s easy to say videos don’t matter as much as the song itself or the live performance, and I’ll say that, too. A lot of bands I really like have sort of not-so-awesome music videos or videos that seem at odds with their actual aesthetic. Still, when a band has a really embarrassing video, it’s hard to shake that image from the song itself — so we try not to have overtly terrible videos.

But I don’t like when a really cool video becomes more important than the song — though some over-the-top stuff is great when paired with the right kind of band. I really love the new Yeasayer video for “O.N.E.,” MGMT’s “Time to Pretend” and Lady Gaga gets more and more fantastically epic with each release.

I guess from a “press” point of view it’s good to have the most sensational video possible (Buckcherry, “Crazy B*tch” — but again, that makes sense [for] Buckcherry). But we’ve never wanted to just gain views for views’ sake — we’d rather (a lot) less people see it, but actually appreciate it as a visual complement to the song, not in a pure spectacle way. We’re not all that “spectacular.”

We recently shot a video with a lot of “furries” (or more politely, “fur suiters”) in it… it’s pretty funny, I think. Maybe not as exciting as female prisons or post-apocalyptic lord of the green screen fantasies, but for us — it’s a start.

French Horn Rebellion

What’s your favorite music video?: [Robert Perlick-Molinari, lead singer] Definitely the “Broken Heart” video. That was our first collaboration with Dax and Barry from the Sniper Twins. It’s so simple — we’re dancing and Barry’s in the corner being weird. That doesn’t sound a lot different than most of the dance parties we throw, actually. But the entire video is one shot. And our dancing is actually choreographed. Felt like we were a boy band a little bit. Thankfully Barry was there with his ketchup and mustard bottles so no one would confuse us with The Backstreet Boys.

How important are online music videos when it comes to publicizing a band? How have they functioned for you?: Our music videos have been great for us. We have more views on YouTube of our songs than anywhere else our music is posted. They came from a really fun and creative place, so we’re really proud about the videos, and feel they are a good representation of how we wanted to start out a group.

The Happy Hollows

What’s your favorite music video?: [Chris Hernandez, drummer] Our newest video is just amazing and our friend Ben Hoste put so much work into it (he had to animate it by hand!); it’s called “Death to Vivek Kemp.”

How important are online music videos when it comes to publicizing a band? How have they functioned for you?: With YouTube and Vimeo and all these other online video outlets, it’s definitely been amazing to have such access to not only our fans, but to people who’ve never even heard of us before! So it’s been a really amazing experience for us to know and be involved with so many creative and supportive people who have helped us out with videos in the past. It’s really become a great collaborative effort to help each other stand out and make a name for ourselves!

Das Racist

What’s your favorite music video?:

[Victor]: Can’t pick a favorite, but our most recent one is Jordan Fish’s “Rainbow in the Dark” video. [Video above.]

[Himanshu]: Bob Weisz’s “Shorty Said” video.

How important are online music videos when it comes to publicizing a band? How have they functioned for you?:

[Victor]: The act of making online music videos provides handfuls of people with something to do with their leisure time (afforded to them by a system of global economic domination by the wealthy few) that feels slightly more productive than other more passive forms of entertainment like watching TV, going to the movies, purchasing a roller coaster ride, etc. Somewhat ironically, the end product is a form of passive entertainment.

[Dap]: Music videos allow men and women to feel sexy and fancy-free. Transcend.

[Himanshu]: Tweens love YouTube.

Bear in Heaven

What’s your favorite music video?: [Jon Philpot, frontman] We’ve made a few music videos and we like them, but it’s nice when a fan makes something… especially if it’s strange. Here’s a favorite. [Video above.]

How important are online music videos when it comes to publicizing a band? How have they functioned for you?: They’re important us. We make them on the road to entertain ourselves and our listeners. I guess we could just make songs… but videos are fun!

The Coathangers

The culture clash between social games and core gamers was on full display at GDC. I have been called a traitor to the cause of core gamers, even. At the awards show, when a Zynga rep claimed the social games award for Farmville and did a little bit of recruiting from the stage, he was not only booed, but someone shouted out, “But you don’t make games!” This is a common sentiment out there in the usual gamer haunts.

I have many many thoughts on all this — and I have been posting some of them in various places when discussions arise.

Yes, Farmville is a game. It just requires fairly little skill compared to games for “advanced” gamers. But by any reasonable definition of game, it fits perfectly.

You have to make choices (they are strategic choices rather than real-time, but so what? Games have a long tradition of slower play). The choices require knowledge and skill (the skill is what gets derisively called “spreadsheet gaming” by the cognoscenti, but that’s a brush that EVE Online and other MMOs have been tarred with too). You have to prepare for the challenge. You can screw up. You get rewarded for doing well, etc.

It may seem elementary to those who can juggle complicated business sims, but think of it as the training wheels version for novices to that genre, and you won’t be far off. I think people who didn’t play games in the early days forget that the level of complexity they enjoy today is a phenomenon of the last ten years, a symptom of typical genre development. Social games are more advanced than most of the games made from 1970 to 1988.

Yes, social games truly are social. They just work on somewhat different modes than real-time synchronous games do. Instead of rewarding real-time teamwork the way that group combat in an MMO, playing on a soccer team, or being a member of a chorus line does, they reward asynchronous behaviors.

Most specifically, there is a lot of exactly the sort of weak-tie social design that was intrinsic to Star Wars Galaxies and Asheron’s Call: stuff around gifts, networks of mutual benefit, etc. More, they are exploring some of these things in a deeper way than MMOs do (because MMOs fall back on the synchronous crutch). Which is more indicative of social ties, a user who logs in once a week for a raid, or a user who logs in every day to send every friend a gift? The answer is not straightforward, if you dig into social networking data.

Yes, it is arguably even an MMO. The core activity is single-player, but the features around gifting, fertilizing, helping build structures collaboratively, etc, are all massively multiplayer techniques. Oh, they are not yet truly virtual worlds, though some of them do feature real-time chat, and more will over time, because in many many cases it is a value-add of a feature.

Long ago, I posed the question of whether American Idol was an MMO. And in that post, I said

It’s surprising, in a way, how little collective action matters in most MMOs. Here’s a medium that allows it better than any other game type, and yet we still see fairly little collective action — and when we do, it’s raids — arguably, exactly the wrong sort of collective action to really play to the strengths of what virtual spaces can do, precisely because what MMOs offer is spaces with thousands in them, not spaces with a few dozen.

Well, here we are. Collective action is starting to matter in the social games, and it’s going to matter more, not less precisely because it is an assumed core premise of the genre.

No, social games are not what we think of as a virtual world. But as I said the other day, that definition is evolving.

Yes, social games make money. Do some Googling, people! And no, it’s not all from scams.Yes, there are shady practices. But not all games use them, and if they do, it is less every day as the market gets cleaned up. And even when they do, they are not the bulk of the money.

Social games are not just a fad. There have been a lot of comparisons to things like motion control, 3d imaging, and so on. But back in 2008 there were Gamasutra articles about whether retro-looking gaming was a fad; before 3d graphics got good enough, there were questions about whether it was a fad… the key thing to look at here is whether there are underlying technical and social factors that are pushing development in a particular direction.

In the case of retro looks (which are now a firmly established aesthetic), the answer lay in the somewhat complicated fact that a younger gamer sees all previous aesthetics side-by-side and does not judge their quality based on technology, the way that older gamers do. A push towards innovation and artistic intent in game design called forth the ghost of the 8-bit era, and the pixelated look became an identity badge. Tech helped this along — the rise of Flash as a common game development platform resulted in a “Flash aesthetic” driven by the display limitations that today we see in console games such as PixelJunk Eden and Patapon.

In the case of 3d, the march of technology simply made it work over time, and it evolved from gimmick to tool. This may yet happen with 3d displays as well, or motion control.

In the case of social games, you have to look at the overall context too. As I have been saying for quite some time, all games are becoming connected experiences. And it turns out that social networks are becoming the glue. They are sweeping away all the “gamer-only” networks that so many companies started.

The value in these networks lies in the connectivity to friends, the easy distribution of content across the social graph, the web accessibility, and so on. These are things that we now take for granted. The genie is not going to go back into the bottle.

Now, is the investment level going to change? Absolutely. The white-hot heat around the segment will definitely subside as everyone gets used to the fact that the market is here to stay.

No, social games won’t turn into core games. This is one of the misconceptions that AAA developers often have as they try to establish themselves in the market. It is absolutely true that social games are going to grow more sophisticated over time. But they will do so by growing further along the direction they have already been going.

If you look at the AAA game world today, you can trace just about everything in it to the early core gamer market. Video games got going with sports, dragons, robots, guns, jumping & climbing, and cars. Those were the first big ideas. And here we are now, decades in, and they are still the big ideas. Many other ideas have come along since, but somehow they have always been quirky, “outside the mainstream” — like, say, when Rollercoaster Tycoon, or Guitar Hero, or The Sims came along. The only way something like “playing house” can possibly be “outside the mainstream” is if there’s a subculture in charge.

Well, social games are here and they managed to get themselves established largely without reference to those tropes. As a result, they have a different set of starting premises. Many of the things that were “quirky” are “normal” and vice versa. Central design tropes  include cooperation rather than competition; asynchronous rather than synchronous play; social dynamics; and a very different set of core cultural references. There’s more.

What will happen over time is that this new audience will grow in sophistication. They already take for granted all of the elements of a farming game, for example. You can think of the farming game as equivalent to any other genre, and replete with design tropes that are exactly equivalent to conventions like WASD, hit points, skill point allocation, rocket jumping, and tank-nuker-healer, if you like.

All that is going to happen is a recapitulation of design history, only with a new of new assumptions embedded in the games:

• a far broader set of cultural references.
• a new and different set of core artistic choices driven by different rendering technology
• a fresh and exciting set of design paradigms built around asynchronous sociability and large-scale weak-tie “guild” structures — hoo, is there a design essay lurking in the difference between a guild and a neighbor ring...!
• a whole new set of business models and practices

What this boils down to is that social games will grow along those axes, and not magically turn into what core gamers today consider to be core games. It’s a mistake to think that the game development industry is going to manage to magically make this audience fall in love with sports, dragons, robots, guns, jumping & climbing, and cars.

But there’s hope for core gamers nonetheless: These games are the new home of “worldy” games, in some ways. And they are bringing neglected genres back to life.

Social games are going to push boundaries in design areas that are currently neglected. A renaissance in simulation and strategy games is likely, and I don’t think it is an accident that so many prominent AAA strategy game developers are in social games now.

If what you have craved is greater user agency and impact on a persistent world, a greater sense of community and economic interdependence — those are features that are intrinsic to this new market. As an example, I would point out that there was a core MMO game that many of the readers of this blog loved that had a farming game where you had to check in every few days to collect your stuff and decide what to try to harvest next. And it’s wasn’t Farmville. It was Star Wars Galaxies. In many ways, the features that were seen as oddest or least “gamer-like” in the worldy MMOs are going to be among core features in the social games: housebuilding, shopkeeping, farming, dancing, dress-up, even hairdressing. Right now, these are one-to-a-game. But one possible direction of development is that they not be.

I have thoughts on what all this means for the core games we know and love, but I’ll leave those for another day.

After Windows Phone 7 Series' grand unveiling at Barcelona's Mobile World Congress last month, Microsoft has circled back over the last several days during GDC and its own MIX10 conference to fill in many of the holes in this story -- in particular, details around the app development ecosystem and how third parties can take full advantage of it have been focal points. Of course, it makes sense: a modern smartphone is only as good as its software catalog, and Redmond's clearly keen to show that it knows how very true that is. XNA -- the technology that underpins Zune games and a host of Xbox content -- figures prominently into the equation, but Silverlight is a huge, unavoidable component as well, making development for WP7S devices a starkly different experience for studios and independent code monkeys than in versions prior. We're going to be periodically updating this post as we get new info on the platform, but for now, follow the break for everything you need to know -- so far -- about Microsoft's latest and greatest mobile platform.

Continue reading Windows Phone 7 Series: the complete guide

Windows Phone 7 Series: the complete guide originally appeared on Engadget on Thu, 18 Mar 2010 12:00:00 EST. Please see our terms for use of feeds.

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Much press has been given to Second Life, the virtual world/social network "game" in which participants can live out their fantasies in a polygonal wonderland, free of the restrictions that come with real life. Imagine a perfectly visualized chat room, only with its own user-created socio-economic structure. Companies have found clever ways to monetize the free experience, while over 15 million users work virtual jobs, buy virtual items, have virtual sex, and dance the night away in virtual nightclubs.

Life 2.0, a new documentary by Jason Spingarn-Koff, finds a human story within the world of Second Life, by focusing his attention on the experiences of four of its users. One is a young woman working from her basement, making a six-figure salary designing clothing and houses for sale in Second Life. A male Second Life addict tries to make sense out of his relationship with his created avatar, an eleven-year old girl that he feels controls him through the game, not vice versa. In another thread, a couple tries to bring their Second Life romance into the real world, despite being committed to other partners.

By putting a human face on the participants, Spingarn-Koff is able to help us understand the society of Second Life, while creating an incredibly compelling human drama. I don't have an addictive personality, so it's hard for me to relate to the desire to spend countless hours living out a fantasy in a "fake" world. Spingarn-Koff makes it real to me, by making the people real to me.

Read the rest over at SciFi Squad

Filed under: Documentary, Theatrical Reviews

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Two years ago, as Microsoft was trying to buy Yahoo, we were really surprised to find Google making a proactive lobbying and marketing effort to scuttle the deal. As we noted at the time, it seemed pretty likely to come back to haunt Google. Indeed, Chris Thompson is now taking a look back and believes that Google's decision to stir the pot over the Microsoft/Yahoo deal has probably been Google's biggest blunder to date. Not only did it eventually lead to Microsoft working out a much, much better deal for itself, it directly resulted in Google getting significantly more antitrust scrutiny, both in the US and abroad. Now, some of that scrutiny likely would have come anyway eventually, but Google definitely helped call much more attention to the situation and its own market position. The whole thing made no sense. Google should have known to keep its mouth shut and watched as Microsoft and Yahoo screwed up the deal on their own.

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