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10 Players Who Will Decide College Football's 2013 National Title

Notre Dame needs a big season from Tommy Rees.

Every college football team has personnel issues that will be a question mark going into the 2013 season. But some have national title implications.

Alabama has the nation’s best roster, but the Crimson Tide is replacing a couple of key starters on the offensive line. Ohio State’s defensive line lost all four starters from last season and will be relying on two sophomores to start at defensive end. Stanford won the Pac-12 title last year, but the Cardinal is picked behind Oregon in most preseason polls. If Stanford wants to win the national championship, it has to get more production from its passing attack.

What players could play a huge role in college football’s national championship picture? Athlon examined 10 key players to watch, along with a few extras to keep on the radar this year.

10 Players Who Will Decide College Football's 2013 National Title

1. Noah Spence/Adolphus Washington, DE, Ohio State
The Buckeyes are considered by most to be the top threat to Alabama this season. There are few questions about an offense that returns nine starters, but the defense will be a work in progress to start the year. The line was hit hardest by offseason departures, as the top four players from last season – John Simon, Nathan Willliams, Johnathan Hankins and Garrett Goebel – are gone. While it will be difficult for Ohio State to match last year’s production from the line, there’s no shortage of talent. Sophomore ends Noah Spence and Adolphus Washington were two of the top defensive linemen in the 2012 signing class and played sparingly last year. Spence recorded 12 stops in 11 games, while Washington had three sacks and nine tackles in 10 contests. The Buckeyes also need a big season from tackles Joel Hale and Michael Bennett, but Spence and Washington will be the key pieces in Ohio State’s chances of ranking in the top 15 of rush defense and averaging 2.5 sacks a game once again.

2. Ty Montgomery, WR, Stanford
It’s no secret the Cardinal has one of the best defenses and offensive lines in college football. But the passing game is a concern, especially after the departure of tight ends Zach Ertz and Levine Toilolo to the NFL. Quarterback Kevin Hogan should be better in his second year as a starter, but Stanford needs to find a few playmakers on the outside. Is Montgomery that player? After catching 24 passes (13 receptions over the final two games) in 2011, Montgomery appeared poised for a breakout year in 2012. However, injuries prevented the Texas native from getting on track, finishing with 26 catches for 213 yards. If Montgomery can stay healthy, he can be the threat Hogan needs on the outside to stretch opposing defenses. The Cardinal could also play a few young players at receiver, including Francis Owusu and sophomores Kodi Whitfield and Devon Cajuste.

3. Tommy Rees, QB, Notre Dame
After the summer departure of Everett Golson, Rees is set to be Notre Dame’s No. 1 quarterback once again. The senior has experienced plenty of ups and downs throughout his career in South Bend, throwing for 1,106 yards and 12 touchdowns as a true freshman and then 2,871 yards and 20 scores in 2011. Rees lost the starting job to Golson last year but played relatively well in relief, throwing for 436 yards and two scores. With one of the nation’s best defenses at his disposal, Rees doesn’t need to throw for 300 yards each week. However, the senior needs to limit his mistakes (24 interceptions on 634 career passes). If Rees is solid and cuts down on the turnovers, the Fighting Irish will be back in the hunt for the national title once again.

4. Julien Obioha, DE, Texas A&M
Entering the second offseason under coordinator Mark Snyder, the Aggies should have a better grasp of the defensive scheme for 2013. But the front seven is undergoing a little bit of renovation, as end Damontre Moore and interior players Jonathan Mathis and Spencer Nealy are gone. Texas A&M has recruited well, so there’s plenty of talent ready to step into the lineup. However, Snyder may have to rely on some true freshmen – Justin Manning, Isaiah Golden and Daeshon Hall – to contribute significant snaps. But all eyes will be on Obioha to star the year, especially with a year of experience under his belt. Last season, Obioha started 12 games and recorded 25 tackles and one sack. Replacing Damontre Moore’s 12.5 sacks is no easy task, but the Aggies hope Obioha spends a lot of time in opposing backfields this fall.

5. LG Arie Kouandjio and RT Austin Shepherd, Alabama
The Crimson Tide coach staff should feel pretty good about three spots on their offensive line. Left tackle Cyrus Kouandjio is a future NFL first-round draft pick, guard Anthony Steen has 25 starts in his career, and center Ryan Kelly impressed in limited action last year. But the other two spots were a concern this fall. Arie Kouandjio eventually settled at left guard and Austin Shepherd won the job at right tackle. Matching the dominance of last year’s offensive line will be difficult, and there’s a ton of pressure on the two new starters to perform at a high level right away. If Kouandjio and Shepherd are up to the task, Alabama’s offensive line will clear plenty of holes for the running backs, along with keeping quarterback AJ McCarron upright in the pocket. But if it struggles, Alabama becomes more vulnerable in key games against Texas A&M and LSU.

6. Mike Thornton, DT, Georgia
We could list a few defensive players here for Georgia, but the success of any 3-4 defense starts in the trenches at nose tackle. The Bulldogs have a huge void with the departure of John Jenkins and Kwame Geathers on the interior, and Thornton is slated to start at nose tackle in the season opener at Clemson. The junior checks in at 6-foot-1 and 290 pounds, which is a stark difference to the 6-foot-3 and 358-pound frame of Jenkins last year. However, Thornton is capable of holding down the middle of the line, and his quickness will allow him to create problems off the snap for opposing quarterbacks. If Thornton struggles, Georgia has plenty of linemen ready to rotate into the game. However, the coaching staff would like to see the junior anchor the line this year and lead a rush defense that needs to improve after allowing 182.1 yards per game on the ground last season.

7. Tony Washington, DE/LB, Oregon
The Ducks return a loaded roster, so it’s hard to pinpoint a weakness for 2013. The defense does have a few holes to fill in the front seven, especially at linebacker/rush end where Dion Jordan is off to the NFL. Washington is slated to fill Jordan’s role, and the junior recorded 20 tackles in 13 contests last year. The junior isn’t as dynamic or athletic as Jordan is, but he is more than capable of keeping Oregon’s defense among the best in the Pac-12.

8. Bashaud Breeland/Darius Robinson, CB, Clemson
The Tigers’ first depth chart of 2013 didn’t reveal much about the cornerback position. Garry Peters and Bashaud Breeland are listed as co-starters at one spot, while Darius Robinson and Martin Jenkins share the other side. Clemson’s pass defense is a concern heading into 2013, especially after finishing sixth in the conference last year. Sophomore safety Travis Blanks is a rising star, but the Tigers are still searching for the right mix at cornerback. True freshman Mackensie Alexander was slowed in fall camp due to an injury, so it may be a few weeks before he makes a significant impact. Whether it’s Breeland, Robinson, Jenkins or Peters, Clemson has to find two players it feels comfortable with to start at cornerback, especially with a huge test against Georgia in Week 1.

9. Mike Davis, RB, South Carolina
The Gamecocks finished 2012 ranked 13th in the SEC in rushing offense, and their leading rusher – running back Marcus Lattimore – left for the NFL after a season-ending injury against Tennessee. Quarterback Connor Shaw ranked second on the team with 435 rushing yards, while Davis finished last season with 275 yards and two touchdowns. Although Shaw has good mobility, South Carolina would like to keep him healthy for a full season, which means one of the running backs needs to step up. Davis was a big-time recruit for the Gamecocks in the 2012 signing class, ranking as a four-star prospect and the No. 63 overall player in the nation according to Rivals.com. Brandon Wilds will also see plenty of carries, but South Carolina needs Davis to be a go-to back that can handle 25 touches a game and take some of the pressure off of Shaw or Dylan Thompson at quarterback.

10. Big 12 Quarterbacks
Yes, we are cheating just a bit with this selection. However, most of the Big 12 is dealing with uncertainty at quarterback this year. Will Clint Chelf hold off J.W. Walsh for the starting job at Oklahoma State ? Is it Casey Pachall or Trevone Boykin at TCU? Is Trevor Knight ready for the spotlight at Oklahoma? What about David Ash at Texas? There are question marks abound at the quarterback position in this conference, which is a big reason why no Big 12 team was picked in the top 15 of Athlon’s projected 125 for the 2013 season. If Knight, Chelf or Pachall has a big season, the Big 12 could have a team in the national title hunt.

Others to Watch

Dan Hicks/Mario Edwards, DE, Florida State
Hicks and Edwards will be tasked with replacing Tank Carradine and Bjoern Werner.

Zach Mettenberger, QB LSU
Will Mettenberger thrive under new coordinator Cam Cameron?

Demarcus Robinson, WR, Florida
Can Florida find a go-to target for quarterback Jeff Driskel?

Jake Smith, C, Louisville
Smith has the tough task of replacing Mario Benavides at center this year.

Fitzgerald Toussaint, RB, Michigan
Toussaint held off freshman Derrick Green for the starting job, but the senior is coming off a significant leg injury suffered late in the 2012 season.

Related College Football Content

College Football Bowl Projections for 2013
College Football's Top 35 Breakout Players for 2013
Top 10 Darkhorses to Win the National Title
The Top 100 Players of the BCS Era
College Football's Top 25 Running Back Units for 2013
College Football's Top 25 Wide Receiver Corps for 2013
College Football's Top 25 Offensive Lines for 2013
College Football's Top 25 Defensive Lines for 2013
College Football's All-Name Team for 2013

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Explore Outfits Percy, Outfit Outfits and more!

Find Cash Advance, Debt Consolidation and more at Lovingtocook.in. Get the best of Insurance or Free Credit Report, browse our section on Cell Phones or learn about Life Insurance. Lovingtocook.in is the site for Cash Advance.

Pinterest • The world’s catalogue of ideas

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Microscopy, Imaging Solutions and Accessories

Microscopy, Imaging Solutions and Accessories Microscopy is a technique used in many disciplines.

VWR has an impressive competence in microscopy, offering a full range of products from the most basic of microscopes to sophisticated models, cold light sources, image recording systems, not forgetting the essential consumables such as cover slips and associated handling products.

Our All You Need for Microscopy guide is a handy reference tool containing the entire range. If you would like a copy then please click the following link to request one or to download the flip version.

The microscopy range is fully supported by big brand names and our own VWR Collection.


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Download Ride with Custer: John Whyte Series, Book 2 Audiobook (Unabridged)

Extended Audio Sample Ride with Custer: John Whyte Series, Book 2 (Unabridged), by Tom Nichols
0 out of 50 out of 50 out of 50 out of 50 out of 5 0.00 (0 ratings) (rate this audio book) Author: Tom Nichols Narrator: Rusty Nelson Publisher: Books In Motion Format: Unabridged Audiobook Delivery: Instant Download Audio Length: Release Date:
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This is book 2 in the John Whyte saga of the American West.

John helped smash a Confederate spy ring and was rewarded with command of his own cavalry brigade. To his amazement, his old junior officer Lieutenant, George Custer, shows up as his commanding General. In the desperate fight at Gettysburg, John grudgingly accepts Custer for the military genius that he is. After mortally wounding the Grey Cavalier of the South Jeb Stuart at the battle of Yellow Tavern, John is also wounded. For his actions, he is awarded the Congressional Medal of Honor.

But danger threatens from vengeful Confederate spies...

Download and start listening now!

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text:
Package Details: openmesh 6.3-1

Git Clone URL: (read-only)
Package Base: openmesh
Description: A generic and efficient data structure for representing and manipulating polygonal meshes
Upstream URL:
Licenses: custom
Submitter: None
Maintainer: philm (xantares)
Last Packager: philm
Votes: 5
Popularity: 0.101297
First Submitted: 2009-03-06 05:03
Last Updated: 2016-12-05 21:13

Dependencies (6)

Required by (0)

Sources (2)

Latest Comments

nakednous commented on 2016-12-10 14:45

Thanks for the package. I'm getting the following error:

mv: cannot stat '/home/pierre/.cache/pacaur/openmesh/pkg/openmesh/usr/lib/python': No such file or directory
==> ERROR: A failure occurred in package().
:: failed to build openmesh package(s)

exptime commented on 2016-06-02 12:42

I had problems with the Python bindings. Adding “-DOPENMESH_PYTHON_VERSION=3.5” (seems to be set to 2.7 by default) to CMake and “mv ${pkgdir}/usr/lib/python ${pkgdir}/usr/lib/python3.5” (hardcoded to lib/python) to “package()” made “import openmesh” work on my machine. Maybe there is a better way :).

And new version 6.1, btw :).

philm commented on 2015-11-24 15:01

thanks for the hint, updated it to 5.0

oaheix commented on 2015-11-24 14:18

Hey, 5.0 is released. :)

philm commented on 2015-02-28 23:08

Hey thanks for the feedback, I updated the package accordingly.

xantares commented on 2015-02-16 08:16

- these lines are useless as libOpenMesh*.so are installed into /usr/lib:
# add openmesh library path to
install -d -m755 "$pkgdir/etc/"
echo "/usr/lib/OpenMesh" > "$pkgdir/etc/"
- you could install src/OpenMesh-3.3/LICENSE/* instead of the 4 license lines.

philm commented on 2015-01-11 22:20

I updated the package to 3.2 now it's working again.

jynnantonix commented on 2014-05-25 04:37

disowning because I don't use this anymore

ochi commented on 2014-05-23 13:49

The source package URL is no longer valid (I think due to changes to the OpenMesh website). This is also the reason why the hash check fails; the downloaded file is actually a (404) HTML file. The new URL (for the 3.1 version) is

oaheix commented on 2014-05-22 11:10

Md5sum checking error:

==> Validating source files with md5sums...
openmesh-3.0.tar.bz2 ... FAILED

Also, 3.1 is out.

jynnantonix commented on 2014-04-06 03:52

Updated to version 3.0 from upstream

nakednous commented on 2014-03-11 22:26

3.0 is out

jynnantonix commented on 2013-01-07 20:44

Updated to 2.3.1

jynnantonix commented on 2012-12-14 20:33

@nakednous @sftrytry

Thanks, fixed. The documentation patch is needed because of a bug in the upstream CMakeLists.txt where the docs don't get installed the first time the package is built. I've updated the PKGBUILD so you shouldn't get that error anymore.

nakednous commented on 2012-12-14 14:26

sames as @sftrytry

sftrytry commented on 2012-12-03 16:16

I have comment out the doc patch in PKGBUILD to make it work.

sftrytry commented on 2012-12-03 16:11

I got the error
CMake Error at Doc/cmake_install.cmake:36 (FILE):
file INSTALL cannot find
Call Stack (most recent call first):
cmake_install.cmake:41 (INCLUDE)
Did I miss anything?

jynnantonix commented on 2012-11-24 00:04

Updated with version 2.3. Now also builds and installs documentation

jynnantonix commented on 2012-10-12 01:44

Updated with version 2.2 [1]. Currently doesn't build documentation and I'm not planning on putting it in unless someone really wants it.

sftrytry commented on 2012-01-25 22:42

2.1 is out.

BELiAL commented on 2011-11-06 10:59

You should change "i386" to "i686" in PKGBUILD

Anonymous comment on 2011-06-13 21:00

Updated to 2.0.1 (now builds with gcc 4.6)

Anonymous comment on 2011-01-27 18:29

Updated to version 2.0 stable release.

I have added 'qt' to "optdepends" and "makedepends" and removed it from "depends". I have also added 'doxygen' to "makedepends".

Kniyl commented on 2011-01-14 16:19

Qt should not be considered as a depend but as an optdepend.

Not having Qt is exactly the same than setting -DBUILD_APPS=OFF in cmake options.

Moreover, Doxygen is also searched by cmake. So it may also be added as optdepend.

Anonymous comment on 2010-10-26 21:58

Anonymous comment on 2010-10-24 12:30

2.0-RC5 is out.


text:
Historical VFX Techniques – Behind the Scenes at ILM

Movies have come a long way in its special effects. Today animation companies and studios like ours create beautiful and realistic computer generated effects, but that wasn’t always the case. It took pioneers like Industrial Light and Magic, or ILM, who really furthered the art of visual effects on the big screen. This article will be going behind the scenes to show you the work and tricks behind ILM’s work in some of their earlier movies.

Indiana Jones and the Temple of Doom features quite a few ingenious techniques. One of the more prevalent and common ones was the use of matte paintings and masks to create shots of fantastic locations. Matte painting is the process during which a matte painter paints onto a glass pane. They usually paint environments. They leave deliberate holes in these paintings where the live action filmed portions will be. These paintings are then filmed. The filmed shots, both live action and matte painting leave black spaces or masks to separate out the layers of film. A shot can have multiple masks used to simulate interactions with big environments like someone falling down a cliff. The resulting shot is them composited together with a live action portion which combines the two or more into one clip. Here is a photo of a matte painter working on the cliff scene from the Indiana Jones movie.

Another common technique used by ILM is the use of puppets or miniatures to create shots that wouldn’t be feasible to make in a studio. While the use of miniatures and puppets in film usually bring to mind stop motion films, they are also used to make great special effects. This is most commonly used on shots that show off large amounts of scenery without focusing too much on any of the characters in it. This was very liberally used in the mine cart chase scenes in Indiana Jones and the Temple of Doom. They would edit together live action shots with shots of miniatures to make the clips feel more realistic. Miniatures can be used in films to make environments seem much bigger and grander than a studio set would allow.  You’ve seen this before in movies like Star Wars and Lord of the Rings. Here is an amusing image of one of the miniature sets of Indiana Jones.

ILM’s most famous work, Star Wars was unique in that it tackled the enormous task of creating believable space battles. They accomplished this by compositing together many different clips of ships into one battle. They would have to plan out the choreography carefully. They would do this by carefully drawing out silhouettes of the ships movements on both transparent sheets and film in order to plot out the ships’ course. They would then playback these silhouettes to see if the movement of the ships and their paths was something that they wanted. Depending on the scenes these shots could composite up to 170 shots together for just a few seconds of film.

As you can see a lot of work is put into every second of film and sometimes it is not always CGI behind these impressive effects. ILM might be known today for their impressive 3D animation, but while it was not always 3D in the past, it sure was impressive.


text:
Posts Tagged ‘family’

The piano that sat in the day room of the old Victorian had known many players over the years… and many voices had lifted up to join it’s melodies and fill the home with music. Whether the music had been joyful or mourning, angry or inspiring… the instrument had never sat unattended long. Many hands had tuned it, lessons had been given and rehearsals had been performed. As she sat there staring at the piano from across the room, curled in the large arm chair that still smelled of pipe tobacco and spearmint, she could still hear the lively Christmas carols and the bawdy, somewhat off-tune singing of her Great Aunt Marguerite.

She could remember the way her mother’s delicately boned fingers had danced over ebony and ivory like stream water over smooth stones, the way her brothers and sisters had fallen asleep on the nearby couch listening to silly lullabies and the way her father had told her stories about far off lands and men and women so brave, so magnificent that they couldn’t ever have been real. She could remember the way her Grandmama would always turn to her daughter when she came to visit. “Play me a song, Rose. Please play me a song.” The old woman’s hands had held a tremor in them even when she was only in her fifties and sixties… she’d long since lost her ability to play with any real finesse, and so her only moments to experience the peace music could bring, however second hand they were, only came during her visits with the young family.

Anette could remember the day she’d met the man who would later become her husband… He was 17 then, and Anette, only 15… had no idea that the beautiful boy with the graceful fingers and deep, soulful blue eyes would ever be more than a school girl crush. She had no way of knowing, as she sat on the stairs listening to her mother lecture him on the important of patience when playing Moonlight Sonata… that she was listening to her future. She had no idea that ten years later, both her parents would be interred in the local cemetery within weeks of each other, and that her husband would spend hours playing at that piano to soothe the shattered soul of his young wife and their three daughters.

She had no idea that the day she’d snapped at him for taking too long “playing around on that damn piano” when they were running late for a meeting with the local private school’s Head Master about getting their twins in despite the long waiting list and strict acceptance guidelines, would be the last time she’d ever hear him pull a tune from the object that had sat in that room for decades before she’d been born. She’d been unable to get closer to it than she was in that moment since the night a drunk driver stole her hopes and dreams from her, but it didn’t matter…

Even now, as she slowly rose from the arm chair and moved to kneel before the piano, her head coming to rest against it…

She could still hear him playing. Five years later, and she could still hear Moonlight Sonata played just a bit too fast, and Claire de Lune pulled from the depths of it, floating around her to caress her like the hands of a lover. She could still remember them… remember them all…

Every. Last. Note.

Read Full Post »

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WRC: Petter Solberg takes 2nd Place in a new car!

This is really BIG news in the racing world for Subaru, one of the biggest names in the World Rally Championship.   Why is this such good news?  Subaru has had a rough run in the WRC over the last two years…Petter Solberg, their lead driver, has had tons of car problems, bad luck on the race courses, and even trouble from the WRC Officials.  Petter is regarded as one of the best drivers in the world but in the last season he couldn’t finish in the top three to save his life.  But Subaru knows they have one of the best drivers, so they just produced a better car for him to drive.  The new Subaru WRC car is a hatchback, the ideal body style for drifting in mud, dirt, snow, and tarmac.  The 2.0 liter 4-cylinder boxer engine produces 300 horsepower, per WRC regulations, but also manages to crank out 480 ft. lbs. of torque!  This new monster is just what Petter needed to get back on top, shown by him finishing 2nd place overall driving a new car in the toughest rally of the WRC.  The Acropolis Rally is in Greece, characterized by loose dirt and big rocks.  This means there is little grip on the track and even littler room for error.  Yet Solberg was able to keep it together and finish second, although Sebastian Loeb still reigns supreme in his Citroen.

Next up is Rally Turkey and I look forward to seeing Petter on the podium with another trophy in his hands.  For those who are interested, make sure to check out the pics of the new Subie below.

2 responses to “WRC: Petter Solberg takes 2nd Place in a new car!

  1. Pingback: WRC: Rally Finland Starts in 6 Days, 10 Hours… but who’s counting? « AutoAnything’s Weblog

  2. Well Germany is this weekend and the car has been more consistent than showing any real pace at the moment. Petter not too optimistic of a good result on it’s first tar outing, but he expects improved performance for Spain and Corsica.

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text:
Cars in India |
Select City

The car with fitting bill amount and fuss free rides.

User review on Maruti Suzuki Ciaz written by Sarthak Kumar on 10 May 2015

Year of Manufacture : 2015 | Driven no. of Kms. : 360

  • Overall
    Overall rating: 3.00
  • Exterior
    Overall rating: 3
  • Suspension
    Overall rating: 3
  • Comfort
    Overall rating: 3
  • Safety
    Overall rating: 3
  • Pros: The lgihtweight is a plus point for driving becomes easier
  • Cons: There is nothing special about its diesel engine
Maruti Suzuki Ciaz could beat all the rivals. The price range that it offered was so much affordable to me that I could not resist myself buying it. The car has got its own style which is a way smarter than other cars of the same family. I found ample space inside it which can accomodate my family well. The headlights being projected with differently positioned tail lights make the best of things for this car's looks.
Maruti Suzuki Ciaz

Maruti Suzuki Ciaz

8.21...10.99 Lakh

User Reviews for Maruti Suzuki Ciaz Competitors


text:
Introducing a New Capability in the Windows Azure AD Developer Preview: the Windows Azure Authentication Library

Publisert på 1 august, 2012

Active Directory Director PM, AD PM USA

Last month we announced the Developer Preview of Windows Azure Active Directory (Windows Azure AD) which kicked off the process of opening up Windows Azure Active Directory to developers outside of Microsoft. You can read more about that initial release here.

Today we are excited to introduce the Windows Azure Authentication Library (referred to as AAL in our documentation), a new capability in the Developer Preview which gives .NET developers a fast and easy way to take advantage of Windows Azure AD in additional, high value scenarios, including the ability to secure access to your application’s APIs and the ability to expose your service APIs for use in other native client or service based applications.

The AAL Developer Preview offers an early look into our thinking in the native client and API protection space.  It consists of a set of NuGet packages containing the library bits, a set of samples which will work right out of the box against pre-provisioned tenants, and essential documentation to get started.

Before we start, I want to note that developers can of course write directly to the standards based protocols we support in Windows Azure AD (WS-Fed and OAuth today and more to come). That is a fully supported approach.  The library is another option we are making available for developers who are looking for a faster & simpler way to get started using the service.

In the rest of the post we will describe in more detail what’s in the preview, how you can get involved and what the future might look like.

What’s in the Developer Preview of the Windows Azure Authentication Library

The library takes the form of a .NET assembly, distributed via NuGet package. As such, you can add it to your project directly from Visual Studio (you can find more information about NuGet here).

AAL contains features for both .NET client applications and services. On the client, the library enables you to:

  • Prompt the user to authenticate against Windows Azure AD directory tenants, AD FS 2.0 servers and all the identity providers supported by Azure AD Access Control (Windows Live ID, Facebook, Google, Yahoo!, any OpenID provider, any WS-Federation provider)
  • Take advantage of username/password or the Kerberos ticket of the current workstation user for obtaining tokens programmatically
  • Leverage service principal credentials for obtaining tokens for server to server service calls

The first two features can be used for securing solutions such as WPF applications or even console apps. The third feature can be used for classic server to server integration.

The Windows Azure Authentication Library gives you access to the feature sets from both Windows Azure AD Access Control namespaces and Directory tenants. All of those features are offered through a simple programming model. Your Windows Azure AD tenant already knows about many aspects of your scenario: the service you want to call, the identity providers that the service trusts, the keys that Windows Azure AD will use for signing tokens, and so on. AAL leverages that knowledge, saving you from having to deal with low level configurations and protocol details. For more details on how the library operates, please refer to Vittorio Bertocci’s post here.

To give you an idea of the amount of code that the Windows Azure Authentication Library can save you, we’ve updated the Graph API sample from the Windows Azure AD Developer Preview to use the library to obtain the token needed to invoke the Graph. The original release of the sample contained custom code for that task, which accounted for about 700 lines of code. Thanks to the Windows Azure Authentication Library, those 700 lines are now replaced by 7 lines of calls into the library.

On the service side, the library offers you the ability to validate incoming tokens and return the identity of the caller in form of ClaimsPrincipal, consistent with the behavior of the rest of our development platform.

Together with the library, we are releasing a set of samples which demonstrate the main scenarios you can implement with the Windows Azure Authentication Library. The samples are all available as individual downloads on the MSDN Code via the following links:

To make it easy to try these samples, all are configured to work against pre-provisioned tenants. They are complemented by comprehensive readme documents, which detail how you can reconfigure Visual Studio solutions to take advantage of your own Directory tenants and Windows Azure AD Access Control namespaces.

If you visit the Windows Azure Active Directory node on the MSDN documentation, you will find that it has been augmented with essential documentation on AAL.

What You Can Expect Going Forward

As we noted earlier, the Developer Preview of AAL offers an early look into our thinking in the native client and API protection space. To ensure you have the opportunity to explore and experiment with native apps and API scenarios at an early stage of development, we are making the Developer Preview available to you now. You can provide feedback and share your thoughts with us by using the Windows Azure AD MSDN Forums. Of course, because it is a preview some things will change moving forward. Here are some of the changes we have planned:

More Platforms

The Developer Preview targets .NET applications, however we know that there are many more platforms that could benefit from these libraries.

For client applications, we are working to develop platform-specific versions of AAL for WinRT, iOS, and Android. We may add others as well. For service side capabilities, we are looking to add support for more languages.  If you have feedback on which platforms you would like to see first, this is the right time to let us know!

Convergence of Access Control Namespace and Directory Tenant Capabilities

As detailed in the first Developer Preview announcement, as of today there are some differences between Access Control namespaces and Directory tenants. The programming model is consistent across tenant types: you don’t need to change your code to account for it. However, you do get different capabilities depending on the type of tenant. Moving forward, you will see those differences progressively disappear.

Library Refactoring

The assembly released for the Developer Preview is built around a native core. The reason for its current architecture is that it shares some code with other libraries we are using for adding claims based identity capabilities to some of our products. The presence of the native core creates some constraints on your use of the Developer Preview of the library in your .NET applications. For example, the “bitness” of your target architecture (x86 or x64) is a relevant factor when deciding which version of the library should be used. Please refer to the release notes in the samples for a detailed list of the known limitations.  Future releases of the Windows Azure Authentication Library for .NET will no longer contain the native core.

Furthermore, in the Developer Preview, AAL contains both client and service side features. Moving forward, the library will contain only client capabilities. Service side capabilities such as token validation, handling of OAuth2 authorization flows and similar features will be delivered as individual extensions to Windows Identity Foundation, continuing the work we begun with the WIF extensions for OAuth2.

Windows Azure Authentication Library and Open Source

The simplicity of the Windows Azure Authentication Library programming model in the Developer Preview also means that advanced users might not be able to tweak things to the degree they want. To address that, we are planning to release future drops of AAL under an open source license. So developers will be able to fork the code, change things to fit your needs and, if you so choose, contribute your improvements back to the mainline code.

The Developer Preview of AAL is another step toward equipping you with the tools you need to fully take advantage of Windows Azure AD. Of course we are only getting started, and have a lot of work left to do. We hope that you’ll download the library samples and NuGets, give them a spin and let us know what you think!

Finally, thanks to everyone who has provided feedback so far! We really appreciate the time you’ve taken and the depth of feedback you’ve provided. It’s crucial for us to assure we are evolving Windows Azure AD in the right direction!

-  By Alex Simons, Director of Program Management, Active Directory Division


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New plugin request: reorder stickies

  • Michael3185

    I tested Vanilla for a while, and liked its simplicity, as do one group I’ve set up a forum for. One neat thing Vanilla has is a Sticky Order plugin. It allows you to drag-move sticky topics in Admin, so that important ones stay where you want them. I can’t find anything like this for bbPress. Is anyone up to creating it? (Hey, _ck_!)

    Vanilla’s plugin modifies the sticky db field from 0/1 to 0-9, then uses the value in outputting sticky topics. I’m not up to coding it, but I’m sure many would find it very useful.

Viewing 3 replies - 1 through 3 (of 3 total)

  • _ck_

    This would be a very good beginners plugin to write, it’s very simple (other than the admin interface).

    bbPress fetches stickies via a separate query (which I have always found to be a waste, except for this case) and you could manipulate the results before the final template is loaded.

    For example on the front-page if you looks at index.php

    you’ll see that

    $super_stickies = get_sticky_topics();

    and then there is

    do_action( 'bb_index.php', '' );

    so you hook the action bb_index.php

    and then you do a global on $super_stickies

    and then you manipulate the order of the array as desired.

    for forum pages it’s

    $stickies = get_sticky_topics( $forum_id, $page );

    do_action( 'bb_forum.php', $forum_id );

    same concept

    That part would take less than an hour to write.

    and you’d store the order in the topicmeta

    But the part that will take much more time is the admin interface.

    Instead you could simply add an extra field on the post edit page that only admin would see and let them chose the topic stickiness priority.

    (this is not a plugin I will be writing)

    Not sure I grasp all that, but I’ll have a shot at it and see where it goes, so thanks for the advice. Hacking around in the files is as good a start as any. Not sure what you mean by ‘do a global’ though… (Never done any php programming, and am new to bbPress too).

    A related question (for anyone); is there any simple documentation for how to hook things into bbPress via plugins, etc., that is, the correct way?

    If you have never done php programming the admin menu is going to be far too much for you to do.

    But someone else might take up the project eventually.

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Charles M. Young – “Rock Is Sick and Living in London: A Report on The Sex Pistols” (1977)

June 4, 2009 at 1:38 am (John Lydon, Music, Reviews & Articles)

Oct. 20, 1977 article from Rolling Stone (issue #250), examing The Sex Pistols and the English punk scene that was thriving at the time…

Dividers? Conquerors? The Filthy Rotten Punks Are ‘Avin’ Fun

“Instead of perfume, there will be rottenness.”
—Isaiah 3:24

A little before midnight, my taxi arrives at a club called the Vortex. The weather is atypically dry, and the neighborhood, like the rest of London, is a shopping district with its eye on the tourist trade. Half a block away ten or twelve teenage boys dressed like horror-movie morticians jump up and down and hit each other. Their hair is short, either greased back or combed to stick straight out with a pomade of Vaseline and talcum powder. Periodically, one chases another out of the pack, grabs the other’s arm and twists it until he screams with pain. Then they rush back laughing and leap about some more. Sitting oblivious against a building, a man dressed in a burlap bag nods gently as a large puddle of urine forms between his legs.

Shouting epithets at themselves in a thick proletarian accent, the boys finally bob down the street as another cab pulls up to the entrance. A man with curly, moderately long, red hair, a pale face and an apelike black Sweater gets out. It is Malcolm McLaren, manager of the Sex Pistols, the world’s most notorious punk band who I have flown from New York to meet and see perform. McLaren has been avoiding me for two days. I introduce myself and suggest we get together soon. He changes the subject by introducing me to Russ Meyer, the softcore porn king of Supervixens and Beyond the Valley of the Dolls fame, who is directing the Sex Pistols’ movie. “You’re a journalist?” asks Meyer. “Do you know Roger Ebert? He won the Pulitzer Prize for film criticism and he’s writing the movie with me. You should talk to him. At the Chicago Sun-Times, he’s Dr. Jekyll. With me, he’s Mr. Hyde. He’s really into tits.”

McLaren seizes the opportunity to disappear into the Vortex and is lost to me for the rest of the evening. The dense crowd inside consists of a few curiosity seekers and 400 to 500 cadaverous teenagers dressed in black or gray. Often their hair is dyed shades of industrial pink, green and yellow. Several blacks, also drably dressed and with rainbow stripes dyed into their short Afros, speckle the audience. The music over the loudspeakers is about two-thirds shrieking New Wave singles and one-third reggae tunes, which the kids respond to with almost as much enthusiasm as the punk rock. The dancing is frantic as a band called the Slits sets up. The style is called pogo dancing — jumping up and down and flailing one’s arms around. It is as far as one can get from the Hustle, and it is the only way one can dance if one is wearing bondage pants tied together at the knees. Most are pogoing alone. Those with partners (usually of the same sex) grasp each other at the neck or shoulders and act like they are strangling each other. Every four or five minutes, someone gets an elbow in the nose and the ensuing punch-out lasts about thirty seconds amid a swirling mass of tripping bodies.

Unlike in American punk clubs, which occasionally become as crowded but where most people still try to avoid jostling each other, no one here hesitates to violate another person’s physical space. Everyone is fair game for a push. The dance floor is phenomenally stuffed with sweating humans, and getting more stuffed with each new song. Roadies onstage and a few fans hurl beer glasses at each other.

The Slits turn out to be an all-female teenage aggregation whose efforts almost any current American rock audience would reward with a shower of bottles. The guitarist stops in the middle of the fourth song to announce, “Fuckin’ shit! Listen to this!” and plays an ungodly out-of-tune chord that no one else had even noticed in the cacophony. The singer, apparently the only one with pitch, has to tune the guitar for her. “Fuckin’ shit!” explains the singer, plucking the strings. “We never said we were musicians.” When the audience becomes restless, she calls them “wankers” (masturbators) and launches into a tune called, “You’re My Number One Enemy.”

The crowd loves it, dancing with even greater abandon — with the exception of one pogo stick who stops in midhop at the sight of my notebook and demands to know what paper I’m from. I say I’m American, not one of the wanking English press. “Well, maybe you’re all right,” he snorts in a barely understandable brogue. “At least you’re not takin’ fuckin’ pictures. The newspapers all sensationalize it. We aren’t fightin’. We’re ‘avin’ fun.”

So what about all the reports of teddy boys (1957-style greasers) fighting punks on King’s Road? “The scene has been going on long enough to attract the idiots who believe the papers,” he shouts in my ear. “They’re just tryin’ to live up to their image. Regular violence is a lie!” Perfectly on cue, the kid is slammed into my chest as another scuffle erupts on the dance floor. “‘ere it comes again,” he says, happily jumping back into the fray.

The Slits draw an encore and invite their opening act, Prefix, a male group who shave their marble white bodies in emulation of Iggy Pop, to jam on “Louie Louie.” The audience likes it so much that several of them storm the stage and nearly succeed in toppling the eight-foot stacks of PA speakers before the security men beat them into submission.

Heading for the exit, I recognize the Sex Pistols’ drummer, Paul Cook, also weaving his way outside. Unaccompanied, he is wearing a sleeveless T-shirt, straight-legged blue jeans and dilapidated sneakers. The nose is wide, the skin pallid. Conditioned by six months of reports about the Sex Pistols’ proclivity for violence, I half expect him to assault me. But his hand is limp as we shake and his eyes do not meet mine when I introduce myself. He is, of all things, shy.

“It’s just a laugh, not really that violent,” he says when I ask about their dancing. “You can take ft which way you want: some laugh, some get paranoid. They want to prove they aren’t posing.”

“A lot of people have missed the satire,” I say. “Some of the press are even trying to link you with the fascists.”

“I can’t be bothered with that shit,” he replies. “It’s just what they want to read into it. When we first started playing, before all the articles came out, people would come up and say they’d never seen anything so funny in their lives.”

The next afternoon I spend reading clips in the Sex Pistols’ office — two dingy gray rooms on the top floor of a small office building a few blocks from Piccadilly Circus. McLaren’s assistants are also dingy and gray and do not introduce me to anyone. When they say hello, they do not shake hands or give a peck on the cheek; they choke each other. The three-foot clip file reflects a band so clouded in mythology that the truth is impossible to discern. This appears to be in everyone’s interest — the press prints anything they can think up, the people are titillated in the midst of excruciatingly dull economic stories by reports that the younger generation is renaming itself Johnny Rotten and throwing up on old ladies, and the Sex Pistols’ image as Forbidden Fruit is enhanced.

This summer, however, the Pistols have been careening into overexposure in their homeland. The four major music weeklies — Melody Maker, New Musical Express, Record Mirror and Sounds — have mentioned them on the cover of almost every issue for months. Taking punk lyrics at their literal word, the dailies regularly proclaim the movement the end of Western Civilization. McLaren has since denounced them for “killing” the New Wave, which may have something to do with why he is letting me languish in my hotel room waiting for his phone calls rather than talk to the band.

All this for a group that has released three singles?

In the history of rock & roll, there is no stranger tale: in late 1971, Malcolm McLaren, then a 24-year-old art student, and his wife Vivian Westwood, who was either teaching or working for Social Security (she doesn’t remember which), opened a boutique for teddy boys called Let It Rock. They started with little money, but the shop proved an enormous success because of their shrewd buying of vintage rock records in discount bins and unused stocks of old clothes. The teds’ rigid conservatism proved boring, however, so McLaren and Westwood changed the name of their store to Too Fast to Live, Too Young to Die and catered to the rockers, another cultural fragment that favored chains, black leather and motorcycles.

McLaren was not, he says, at all interested in contemporary rock music, but was greatly impressed by the swagger of the New York Dolls when they visited Too Fast one afternoon in 1974. He followed them to a Paris performance and, from November 1974 to June 1975, tried to manage them when their old management and record company were mired in feuds. Burying their old image as trendy transvestites, McLaren dressed them in red leather, draped their amplifiers with hammer and sickle flags and asked the question in their advertising, “What are the politics of boredom?” This proved less than a hit with both public and critics. The dolls hung it up forever in the middle of a gig in Florida, and McLaren flew back to England a sadder but wiser rock & roll manager.

Meanwhile, Westwood had changed the name of the boutique to Sex and was selling bondage clothes and T-shirts decorated with large rips and grotesque pornography (the government actually prosecuted them for their pictures). It became a hangout for budding punks who listened to the jukebox and stole the clothes. Among them were four proletarian kids — Steve Jones, Paul Cook, Glen Matlock and another guitar player — who wanted to start a band. McLaren suggested the name Sex Pistols. Jones began as the singer (Cook played drums, Matlock bass) but didn’t know what to do with his hands, so they gave him a guitar, which he learned to play proficiently in two months. The other musician was given the boot, leaving an opening for a singer.

One of the regulars at Sex was a kid named John Lydon, who was distinguished on three counts: 1) his face had the pallor of death; 2) he went around spitting on poseurs he passed on the street; and 3) he was the first to understand the democratic implications of punk — rather than pay ten pounds for an ugly T-shirt with holes in it, he took a Pink Floyd T-shirt, scratched holes in the eyes and wrote I HATE over the logo. McLaren stood him in front of the jukebox, had him mouth Alice Cooper’s “I’m Eighteen” and declared him their new lead singer. Jones noticed the mung on Lydon’s never-brushed teeth, and christened him Johnny Rotten.

From the beginning, the Sex Pistols had trouble finding venues for their chaotic performances. But Rotten, blessed with demented anger heretofore unseen outside a war zone, proved to be the spark that set off the forest fire of punk bands now raging through Britain. EMI, the largest and most prestigious English record company, signed them and released the Pistols’ first single, “Anarchy in the U.K.,” in November 1976. In a tune similar to the Who’s “I Can See for Miles,” Johnny Rotten declared himself an anti-Christ who wanted to destroy everything. The BBC was not amused and gave it no airplay. “Anarchy” was not even in the charts by December 1st, when the Sex Pistols became household epithets in one night.

Appearing live on the British Today show at the supper hour, the Pistols responded to interviewer Bill Grundy’s command, “Say something outrageous,” by calling him a “dirty fucker” and a “fucking rotter.” The newspapers put them on the front page for a week with screaming headlines like TV FURY OVER ROCK CULT FILTH and PUNK? CALL IT FILTHY LUCRE. Members of Parliament denounced them. “Anarchy” entered the charts at Number 43, but record company workers refused to handle it and EMI was fast buckling under the public pressure. The Pistols added to the outrage by refusing to apologize and by doing long interviews in which they denounced the star system and sacred luminaries like Mick Jagger and Rod Stewart for being old and rich. They went on tour, traveling around the country in a bus, arriving at gigs only to discover that they had been banned in the township. Out of twenty-one scheduled dates, the Sex Pistols played three.

On January 4th of this year, they flew to Amsterdam for a club date and got involved in an incident at Heathrow Airport. One witness claimed the Sex Pistols were doing something so disgusting that she could not repeat it for publication. Steve Jones claimed he had a simple case of indigestion, but the papers had a field day, and it became generally believed Jones had been vomiting on old ladies in the preflight lounge. EMI dropped them at a cost of 50,OOO pounds and 5OOO copies of “Anarchy” to break the contract.

Glen Matlock also left about this time, charging that the group was so manipulated by McLaren that they had become like the Monkees. The group charged Matlock with being into old farts like Paul McCartney. Sid Vicious, an old school chum of Rotten’s, inventor of pogo dancing, reputed mean hand with a bicycle chain and totally inexperienced hand with a bass guitar, was the replacement.

On March 10th, A&M signed the Sex Pistols, advancing them 50,000 pounds, and dropped them a week later for another 25,000 pounds. In between, the Pistols were apparently involved in incidents of vandalism at the company’s headquarters and in a pub fight with the head of programming for the BBC. It is also thought that A&M was the target of heavy pressure brought by disc jockeys, distributors and its own employees.

This summer they signed with Virgin for British distribution and released “God Save the Queen,” a raunchy denunciation of the monarchy, just in time for the Queen’s Silver Jubilee. The song quickly went to Number One on the New Musical Express charts. They followed up with a two-sided hit, “Pretty Vacant,” an original about not caring for anything, and “No Fun,” an Iggy Pop cover that Rotten starts as a sociology lecture and ends as a sort of hymn to the general worthlessness of the universe. They have just completed a much anticipated album, Another Load of Bollocks from the Sex Pistols, due out in Britain between this writing and publication time. Though competition is thought to be hot, McLaren still has not signed an American deal.

In the meantime, the Sex Pistols are concentrating their efforts on a feature movie to take their message directly to their audience and bypass the journalists, record companies and disc jockeys. The boutique has been renamed Seditionaries to accommodate the new political mood and its line of T-shirts now includes swastikas. Both Rotten and Cook were assaulted this summer by “patriots” who sent them to the hospital briefly.

“Fuckin’ ‘ell! They were unlucky, that was all,” says Steve Jones, who has arrived in the office to look at some pictures. Jones is by far the healthiest-looking Sex Pistol, with an I’m-a-stud-from-the-coal-mines look about him, though his handshake proves as limp as Cook’s. “It ain’t hard to suss it out if a geezer’s going to beat up on you.”

I mention the recent Swedish tour of small clubs and the gangs of “razors” — youthful thugs who drive big American cars and assault immigrants — who disrupted some concerts by ripping the safety pins out of the cheeks of some of the Sex Pistols’ fans.

“Yeah, they like the music, they just don’t like the safety pins — that’s wot a Swedish bloke told me. They’re just fuckin’ idiots,” says Jones. “I wanted to go outside and smack ’em, but the bouncers wouldn’t let us. They think we’re the crown jewels.”

The phone rings and it is McLaren. I fall on my knees before his assistant and write “PLEASE!!” on my notepad. She has mercy and lets me talk to him for a moment. To my great surprise he invites me to his apartment late that evening. I express my heartfelt thanks and take off with Jones to the studio, where the Sex Pistols are doing the final overdubs on the album. At the curb, Jones pats a passing woman on the behind, much to the distress of the woman and a roadie who is worried what I’ll write. “I don’t care!” exclaims Jones. “I like slappin’ birds’ arses!” A Chinese man grabs the cab he’d been motioning and Jones shouts, “Fuckin’ little slit eye got it! Oy! Oy! You cunt!”

In the taxi, I ask his impression of Russ Meyer. “Seems like a nice bloke,” he says. “Very aware of everything. There’s going to be plenty of sex in this film, lots of birds with tits.”

One of the things that strikes me about the punk movement, I say, is that it seems antisex — kids making themselves so ugly and mutilated that no physical attraction is possible. Sid Vicious described himself in one article as a “sexless monster,” totally bored with the whole subject. “Sid said that?” says Jones. ” ‘e was puttin’ on.”

“I felt like a sexless monster because at the time my head was shaved and I was wearing this vile tuxedo that was four sizes too big. I had no money to buy clothes, and people would run away when I walked down the street. It was a right laugh,” says Sid Vicious in the lounge of the recording studio. Queen is recording at the same time, and Freddie Mercury’s high-pitched howls waft through the not-quite-sound-proofed door. “I didn’t like fuckin’ then, and I still don’t. It’s dull.”

Vicious’ voice has a tone of goofy absurdity, something like Ringo Starr’s (though he’d hate the analogy), that elevates almost everything he says to high humor. Pencil thin, he is dressed in a black leather jacket with no shirt underneath and enormous black combat boots. His teeth appear not to have been brushed in several years. His hair is about two inches long and sticks straight out at odd angles. Several bright red scars highlight his solar plexus.

“One night nobody was payin’ any attention to me, so I thought I’d commit suicide,” he explains, belching loudly. “So I went in the bathroom, broke a glass and slashed my chest with it. It’s a really good way to get attention. I’m going to do it again — particularly since it doesn’t work. They all said I didn’t cut myself enough to be realistic and ignored me.” Vicious laughs at the non sequitur, adding, “You better not make a fool of me in this article.”

Vicious went to college, the English equivalent of American high school, with Johnny Rotten. “We were right thick cunts, we were,” he says. “‘e was the vilest geezer I ever met — all misshapen, no ‘air, ‘unchback, flat feet. Everybody ‘ated ‘im. Everybody ‘ated me. We ‘ated each other, too, but nobody else would talk to us, so we’d just get drunk and criticize each other. ‘e used to tell people ‘e had to cut his piles off with a razor blade because they were ‘anging out ‘is pants, and they’d believe ‘im. ‘e used to tell them that niggers ‘ad ‘air on the roofs of their mouths. They believed that too.”

Vicious dropped out of school after somehow finagling a scholarship (“I didn’t know about the dole yet”) which he used to start some sort of illicit business that he declined to specify. He first touched immortality when attending the early Sex Pistols’ concerts. “They were the only group I ever wanted to see,” he says. “I didn’t know how to dance, so I just jumped up and down and bashed people. Then everybody else started doin’ it, but they didn’t get it right, so I quit.”

“Did you really get into all those fights attributed to you?”

“Don’t believe everything you read in the press. If somebody starts with me, I try to mess them up, but I don’t look for trouble.”

“When did you first pick up the bass?”

“I never played seriously until I joined the group. Learned quite fast, I suppose. Before I started playing, I never really noticed the bass — couldn’t tell it from a piano. I heard records as just a wall of sound. I’d have to think before I could pick anything out.”

I say how surprised I was the other night to see teenage punks responding so enthusiastically to reggae music. “Yeah, I like reggae,” he says. “But I don’t know what it is. I never quite find out what things are.”

“It’s true you hate the traditional rock stars who’ve made big names for themselves?”

“I absolutely despise those turds. The Stones should have quit in 1965. You never see any of those cunts walkin’ down the street. If it gets so you can’t see us that way, I don’t want it.”

“But the entire American music industry is poised to turn you into the next big thing. They’ll suck out any integrity the band has.”

“But how can they? I only know one way to live. That’s like now. In Sweden, they wouldn’t let us out the door. Those fat cunts, they said the crowds would tear us apart, but nothin’ ‘appened. I won’t be filled with that shit.”

“Will you have anything to sing about when you’re rich?”

“I don’t think we’ll ever be millionaires. I don’t really think about the future. I ‘aven’t got a clue.”

Two groupies, dressed like That Cosmo Cadaver, interrupt. “Can we stay with you tonight?” they ask. “John wouldn’t let us.”

“Of course not,” says Vicious.

“You’re not worth anythin’ to me. There’s nothin’ you ‘ave that I want. And I can’t stand the sound of your friend’s voice. I’m very mercenary about these things.”

“So I see.”

When she doesn’t respond in kind, Vicious immediately changes his tune. “No, it’s just that I don’t ‘ave a place to stay meself. Every time I’ave a place, I get bored in a week. I sleep where I can.”

“With all the money you make, you ‘aven’t got your own flat?”

“I ‘aven’t seen any of it.”

Vicious pulls out his pockets. One coin falls to the floor. “Look, I don’t even get paid till Friday, and then it’s all gone by Monday. I ‘aven’t seen any of the money.”

Malcolm McLaren, who has a reputation for being two hours late to everything, is also two hours late to meet me at his apartment. Vivian Westwood ushers me into their bedroom, where I wait until she finishes cutting a half-inch or so of her two-inch hair, presumably to make it stick out better. The room is modestly furnished in black and white, a constantly recurring color theme that — along with the incessant rain, bad telephones, warm beer, incompetent hotel service, yellow journalism, cretinous newspapers, lack of time with the band, money that weighs more than it’s worth, cricket on television, geographically separate streets having the same name within London’s city limits, riots between Marxist and neo-Nazi splinter parties, and a hangover — is convincing me to change my name to Chuckle Suicide and go Sid Vicious one better. The only color in the room is a poster of the equally depressing Red Ballet. The bookshelf includes Orwell, Dickens, de Sade and Wilhelm Reich’s The Mass Psychology of Fascism. First in a pile of albums on the dresser is The World of Billy Fury.

Westwood appears a few years older than her husband and wears no makeup over her sheet-white skin. She wears a white blouse and black bondage pants tied together at the knee and thigh. Finishing her hair, she sits on the black bedspread and gives a history of her boutique. They are, she says, still awaiting a decision on the government suit against their pornographic T-shirts. “We’ve always been about provoking,” she says. “If you want to find out how much freedom you have, make some kind of explicit sexual statement and wait for it all to crash down around you.”

She says Rotten was the first to rip his own shirt, but, contrary to some accounts, gives Vicious credit for first using safety pins: “A mate who owed him money ripped up his apartment one night — shredded the rug, the walls, his clothes, everything. He had to use the pins to hold his trousers together.”

When McLaren finally arrives after midnight, he is still wearing the mangy black sweater I saw several nights back. The long strings of matted wool keep reminding me of Johnny Rotten’s piles hanging out of his pants. I ask why he presented the New York Dolls as communists.

“It was just an idea that came out, like a can of new soup,” he says. “Rock & roll is not just music. You’re selling an attitude too. Take away the attitude and you’re just like anyone else, you’re like American rock groups. Of course, maybe there’s just too wide a market there for a good attitude. The Sex Pistols came about because on the streets of Britain they’re saying, ‘What is this 1960s crap, paying five of a sixpence when I’m the dole?’ The kids need a sense of adventure, and rock & roll needs to find a way to give it to them — wham out the hardest and cruelest lyrics as propaganda, speak the truth as clearly as possible.”

“What did the Dolls as communists have to do with the truth?”

“I don’t know,” McLaren admits. “I’m not a communist. I’m rather anarchistic. I was trying to make them more extreme, less accessible. Most bands won’t do that sort of thing, but they must find a means to provoke.”

“Aren’t there easier ways to break a band?”

“I love to go the hardest route. It keeps you up. It keeps the truth happening. Too many of the new groups are getting sucked up by the record companies too early. The movement will get diluted.”

Since his own problems with record companies are by now legendary, I ask about his negotiations for an American deal.

“Well, Clive Davis called the other day: bullshit artist number one, this guy,” he says. “I said, ‘Weren’t you the bloke who told the press not to identify itself too closely with the punk movement?’ He said he didn’t mean the Sex Pistols — you must look on groups as individuals, not as part of a movement. I said I believe in movements: ‘Get it straight. We’re not part of your talent roster. We’ll have none of your stars.’ He said Patti Smith was on Arista and she was a punk. ‘I don’t want your old hacks,’ I said. ‘You should have signed the Kinks in 1964 when they had something to say.’

(Reached in New York later, Davis commented, “This cannot be typical of what McLaren thinks because he’s told me that he’s heard many good things about Arista, and I or my representatives have had about 20 conversations with him. This sounds like a hatchet job, like an isolated and fragmentary quote, since it is from a man who is very interested in signing with me and my company. My reaction is amusement.”)

“These record company presidents, they’re all whores. Two months ago, their doormen would have thrown us out. We sell a few records and they phone and want their pictures taken with us. Mo Ostin [of Warner Bros,] is flying in with his lawyer tomorrow, and I couldn’t get past his secretary before. I’ve been in and out of CBS many times. Walter Yetnikoff [president of CBS Records Group] sang me ‘Anarchy in U.K.’ at breakfast at the Beverly Wilshire to prove he knew the group. He said he wasn’t offended by Johnny Rotten saying he was an anti-Christ. ‘I’m Jewish,’ he said.”

(Walter Yetnikoff commented later: “I was saying it as a gag. I’m not looking to pick a fight with Christianity.”) I ask why he places the press right down in the sewer along with record company presidents.

“Because the music press are basically Sixties culture freaks. They imply we’re not original, they try to maintain this facade of knowing every song, every riff, every lyric, as if they invented it. One recent headline had us as ‘John, Paul, Steve and Sid,’ like we were the Beatles! That’s fucking disgusting! They were trying to make us fun. It shows the vampire nature of the Sixties generation, the most narcissistic generation that has ever been!”

“So why are you putting up with me?”

“My man in America told me to. If we do Rolling Stone, we might not have to do another interview for two years. This band hates you. It hates your culture. Why can’t you lethargic, complacent hippies understand that? You need to be smashed…. This is a very horrible country, England. We invented the mackintosh, you know.” McLaren gestures as if he is opening his coat for a lewd display. “We invented the flasher, the voyeur. That’s what the press is about.”

Seeing no need for elaboration, I change the subject to why he selected Russ Meyer, of all people, to direct the film.

“Right from the beginning, I knew he was the right guy. He was an action director, and he was an outcast from the regular studios. I liked his sense of color. We didn’t want a grainy, black and white, Polish, socialist, realist movie…”

The phone rings and McLaren answers. “What’s that? Elvis Presley died? … Makes you feel sad, doesn’t it? Like your grandfather died … Yeah, it’s just too bad it couldn’t have been Mick Jagger.”

Russ Meyer, a grandfatherly man with a small, well-manicured mustache, shows me into his nicely furnished apartment the next day and motions to a slightly pudgy young man on the other side of the room. “This is Roger Ebert,” he says. “He won the Pulitzer Prize for film criticism and he’s writing the movie with me. At the Chicago Sun-Times, he’s Dr. Jekyll. With me, he’s Mr. Hyde. He’s really into tits.”

Ebert laughs and says, “Remember, without me, there wouldn’t be any mention of Bambi in this movie.”

Meyer turns around and motions to the couch behind me. “This,” he says, “is John.”

Sid Vicious could not have described him more accurately: all misshapen, hunchbacked, translucently pale, short hair, bright orange — undoubtedly the vilest geezer I have ever met too. He is wearing a T-shirt emblazoned with DESTROY and a swastika, black leather pants and these bizarre black shoes shaped like gunboats. His handshake is the limpest of all. “You, uh, prefer to be called John?” I ask.

That’s right,” he says, “I despise the name Johnny Rotten. I don’t talk to anyone who calls me that.” His voice could turn the Lord’s Prayer into brutal sarcasm. Having learned, probably, that if you stare at anyone long enough he will think you know he’s a fraud (because everyone is a fraud), Rotten glares with demonic self-righteousness that threatens to reduce me to incoherence. The overall effect, though, stirs a maternal instinct I didn’t know I had. The idea of this sickly dwarf bringing the wrath of an entire nation down on his shoulders is, well, heartwarming. Maybe, just maybe, if someone this powerless could cause that much uproar, maybe words still mean something.

“You got any comment for the world on the death of Elvis?”

“Fuckin’ good riddance to bad rubbish,” he snarls. “I don’t give a fuckin’ shit, and nobody else does either. It’s just fun to fake sympathy, that’s all they’re doin’.”

“Is it true you used to tell people you had to cut off your piles with a razor blade?”

“Yeah, I didn’t go to school for about three weeks. The teachers sent me flowers. I’m an atrocious liar.”

“How did you get that way?” regret the question by the time it’s out of my mouth, but there’s no taking it back.

“Through dating people who ask that kind of crap. Assholes who believe that sort of thing don’t deserve to be spit on.”

“You look like Mel Ferrer,” says Meyer to me. “Has anyone ever told you that?”

“No,” I reply. “They usually compare me to Charlie Watts.”

“We’re lookin’ for a journalist who looks like Mel Ferrer for the movie,” says Rotten. “He gets murdered.” He glares at me again. This time I glare back, and we end up in an unstated contest for about ten seconds. He seems to withdraw more than lose concentration, not leaving me much of a victory. Meyer asks him about certain English slang words to give the script some authenticity. “A tosspot is even lower than a jerk-off,” Rotten answers. “A weed is a pansy, if you don’t know that, it’s just an indication of how fuckin’ stupid you Americans are.”

“Just a minute, boy,” laughs Meyer. “In ’44, we saved your ass.

“Like fuck you did…” Rotten trails off, suddenly realizing he’s put himself in the position of defending his country. “You can slag off England all you want. There’s no such thing as patriotism anymore. I don’t care if it blows up. There’s more tourists in London than Londoners. You never know what accent you’re going to get when you ask directions.”

“Hasn’t anyone defended you from the standpoint of freedom of speech?”

“Not a one,” he replies. “England was never free. It was always a load of bullshit. I’m surprised we aren’t in jail for treason. Where’s the bog?”

“Down the hall to the left,” says Meyer. “There’s ale in the refrigerator and on the counter, if you want it warm.”

“No, the bog, man,” says Rotten. “You know, the shithouse, the wankhole.”

“Oh! The bathroom!” says Meyer. “Straight down the hall.” Rotten trots off.

“Hmmm what do you think about ‘Bog’ for a movie title? ‘Bog,’ with an exclamation point.”

When Rotten returns from the bog, I ask if he shares Vicious’ views on love. “Love is two minutes and fifty seconds of squelching noises,” he says. “It shows your mind isn’t clicking right.”

Meyer suggests that we go have dinner and asks Rotten what kind of food he likes.

“I don’t like food.”

“Come on,” says Meyer.

“You have to eat something to survive.”

“Very little.”

“What do you eat when you eat very little?”

“Whatever is available. Food is a load of rubbish.”

Rotten finally agrees to a fish restaurant named Wheeler’s Alcove and the five of us — Meyer, Ebert, Rotten, me and this roadie who showed up halfway through the talk — stuff ourselves into a subcompact that would be cramped for two. “You can’t blame him for being difficult,” whispers the roadie. “Journalists ask the most unbelievably stupid questions. They’ve been calling all day asking how he felt about Elvis.”

On the way, we stop at a store so Rotten can pick up the following day’s groceries — two six-packs and a can of beans. At the restaurant, Ebert entertains me with a joke about an elephant having his testicles crushed by two bricks until the waiter arrives.

“I’ll have a filet with nothing around it and a green salad on the side, mush” orders Rotten.

“Yes, sir, but don’t call me mush,” says the waiter who appears to have just gotten off the boat from Pakistan.

Rotten leans over the table and delivers his most enraged stare. “And I’ll have a Guiness on the side, mush!” The waiter tries to take the other orders, but Rotten insists: “Did you hear I want nothing around the filet, mush?!” The waiter finally hustles off to the kitchen, much relieved to get away.

“What’s a mush?” asks Meyer.

“Someone whose face is all beaten in and looks like a cunt.”

“He didn’t like that. He’ll spit in your salad.”

“I know it. That’s why I said it. The mush couldn’t take a joke.”

As the food arrives I ask Rotten about the close friendship of reggae and punk. The first single by whites ever carried in some of the record shops in Brixton, the Jamaican ghetto, was “Anarchy in the U.K.” But neither movement seems to have made much of an impact on American blacks, who still very much believe in the middle-class dream, at least according to a New York Times poll which showed that of any racial group, blacks have the most optimism about New York.

“Punks and niggers are almost the same thing,” says Rotten, oddly echoing a theme of the last decade which substituted “students” for punks. “When I come to America, I’m going straight to the ghetto. And if I get bullshit from the blacks in New York, I’ll just be surprised at how dumb they are. I’m not going to hang out with the trendies at Max’s and the CBGB. I’m not asking the blacks to like us. That’s irrelevant. It’s just that we’re doing something they’d want to do if they had the chance.” Rotten seems to be at his most sincere of the evening. He leans forward, almost urgently. “Listen, this band started by nicking every piece of equipment. I still sing through David Bowie’s microphones. Punk fashions are a load of bollocks. Real punks nick all their gear from junk shops.”

I ask Meyer if, as a Hollywood outcast, he feels any kinship with the punks.

“Not really,” he says. “I don’t consider myself an outcast. I’m the only independent who can compete with the major studios. I thought this would be a good transitional thing to get out of the straight bosoms-and-brawn thing. They’re also paying me one percent of the U.S. gross.”

“You mean you don’t believe in what they’re saying at all?”

“Don’t you know that all directors are whores? John, wouldn’t you make yourself look like a cunt for a million dollars?”

“How could you make me look like a bigger cunt than I am?” says Rotten. “The joke’s on you.”

Next morning I call McLaren at home and he promises me a ride to Wolver Hampton, a suburb of Birmingham, to see the first date of the Sex Pistols “guerrilla tour” of Britain. Since they are banned everywhere, they will be playing under assumed names. Tonight it is to be the Spots, an acronym for “Sex Pistols On Tour Secretly.” In the meantime, I make a phone call to Bernard Brooke-Partridge, Conservative member of the Greater London Council and chairman of the Arts Committee — the man primarily responsible for banning the Pistols in London.

“I will do everything within the law to stop them from appearing here ever again,” he says. “I loathe and detest everything they stand for and look like. They are obnoxious, obscene and disgusting.”

“Doesn’t the question of who should decide what’s disgusting in a free society enter in here?”

“I am the person who decides,” he says. “The electoral put me here. My power is not in question. If the Sex Pistols want to change the system, they are free to stand for election from my district.”

“In the United States, the First Amendment to the Constitution says the government is not allowed to make such decisions.”

“We have our own way of doing things here. The Sex Pistols are scum trying to make a fast buck, which they are entitled to do under the law. I am entitled to try and stop them. We’ll see who wins.

“Now, I’ve seen many of the groups play. I’ve nothing against Mick Jagger and his ilk. Some of his gestures appeared lewd, and they were probably meant that way, but the audience was not tearing up the seats. I will say this for the Sex Pistols: there’s one band that’s a damn sight worse: the Bay City Rollers.

McLaren does not phone me back with instructions on how to get my ride, so I end up taking the train at the last minute. Wolver Hampton turns out to be an industrial sumphole, resembling Cleveland if Cleveland had been built 200 years earlier. The Club Lafayette is in the middle of a tough, working-class neighborhood. Word has obviously gotten out, as a line five to eight wide extends around the block. Inside, it is already packed with people in their late teens and early 20s. Except for one kid who appears to have dyed his skin green (could it have been the dim light?) and a few others in punk paraphernalia, the crowd is dressed normally. They pogo to the recorded music, however, with even greater intensity than their counterparts at the Vortex. The fights are both more frequent and more violent. One battle seems to swirl around the entire floor, bodies tripping like a line of dominoes until it stops at the foot of the stairs in back, directly below Malcolm McLaren. A half-smile on his lips, he is an island of serenity, magically untouched by the chaos.

“You’ve got to control yourselves a bit more,” pleads the DJ over the loudspeaker, “or the Spots will not perform. Please be cool!” The crowd responds with what I’m told is a soccer chant.

At midnight, the Sex Pistols finally emerge from the dressing room. The crash around the foot-high stage is literally unbelievable and skirmishes with the security men immediately erupt. The ten-foot stacks of PA speakers are rocking back and forth and are dangerously close to toppling over. The band cranks up and Rotten growls the demonic laugh at the beginning of “Anarchy in the U.K.”:

Rrrrright nowwwwww!
Ahahahahhh! I am an
I am an anarchist
I don’t know what I want
But I know how to get it
I wanna destroy passers-by
Cause I wanna beeee

Some kid has put his fist through one of the speakers and a few more have escaped the security men to step on wires and knock over electronic equipment. The song is barely intelligible over the explosions and spitting noises from shorts, just the way anarchy ought to sound. The crowd pogos frantically. Paul Cook is completely hidden from view, but sounds fine, limiting himself to a basic repertoire of rock licks. Steve Jones’ guitar work avoids frills but gets the job done with taste. His expression is deadly earnest — like a high-school basketball star stepping up for a crucial free throw — which he breaks only to spit on the audience every few minutes. Sid Vicious’ bass playing is highly energetic and completely without subtlety. He’s been up for two days prior to the gig and, hilariously, looks like he’s trying to cop some zzz’s between licks. Still clad in his swastika T-shirt, Rotten is perhaps the most captivating performer I’ve ever seen. He really doesn’t do that much besides snarl and be hunchbacked; it’s the eyes that kill you. They don’t pierce, they bludgeon.

You’re bustin’ up the PA,” he says, more as a statement of fact than alarm, after the song is over. “Do you want us to continue?”

Several burly roadies join the security men to form a solid wall in front of the band. Rotten is completely hidden from view, so he climbs on top of a monitor and grabs the mike in one hand and the ceiling with the other for balance. Someone in the balcony pours beer on him.

The band manages to get through “I Wanna Be Me,” “I’m a Lazy Sod” and “No Feeling” with the sound system relatively intact. “Pretty Vacant,” their current hit single, draws an unholy reaction — the crowd shouting the chorus at the top of their lungs: “We’re so pretty/Oh so pretty/Va-cant/And we don’t care!” For the first time, I see Johnny Rotten crack a smile — only a brief one, but unmistakably a smile. Grasping a profusely bleeding nose, a kid collapses at my feet. Another pogos with his pants down. The “God Save the Queen” chorus — “No Future, no future, no future for you” — sparks a similar explosion and closes the set. “No fun” is the encore and, true to its title, blows out the entire PA.

I grab a poster advertising the Spots and head for the dressing room. Uncool fan that I have become, I ask for autographs. Cook complies; Jones complies; Rotten complies; Vicious asks, “Why should I?”

“I don’t know,” I say. “I just wish you would. That was the most amazing show I’ve ever seen.”

Vicious thinks a moment and signs it. “Usually I don’t do this,” he says. “For some reason, I’m glad you liked it.”

I’m glad I liked it, too. Sid Vicious is about as close as rock & roll is going to come to Huckleberry Finn in this decade. I hope he can light out for the territories before he turns into just another ego. I can’t dislike Malcolm McLaren for figuring out that reporters are vampires, lurking in the night, ready to suck out every last corpuscle of titillation, leaving the victim to spend eternity as a Media Zombie. If he were merely a manipulator, he wouldn’t have chosen such genuine fuckups for the band. If he were merely a greedhead, he could have found an easier way to run the Sex Pistols for number one group in the world. As it is, he chose not the politics of boredom, but the politics of division, Richard Nixon’s way: amputate the wanking Sixties liberals from their working-class support. Kids destroyed schools to the tune of $600 million in the U.S. last year. That’s a lot of anger that the Southern-California-Cocaine-And-Unrequited-Love Axis isn’t capable of tapping.

And Johnny Rotten, it seems to me, told the entire United Kingdom he had to cut his piles off with a razor, and the damn fools believed him. America’s get-well card is in the mail. It’ll be a right laugh. But I keep thinking about that brief smile during “Pretty Vacant” at the Club Lafayette. Did that mean, “Look how great I am!” or “Look at them have a good time!”? Those have always been divergent roads in rock & roll. The Sex Pistols took the latter, the one less traveled by, and that has made all the difference.

Charles M. Young

1 Comment

  1. The Clash Remembered, Repackaged | John Gibson - On Music said,

    […] corporate rock of the time. There was Charles M. Young’s 1977 Rolling Stone cover article, “Rock is Sick and Living in London.” Another eye-opener was Robert Christgau’s “We Have To Deal With […]

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Pre Owned Mens Rolex Yellow Gold Datejust Diamond with a Black 1601

SKU: 3016824M

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BeckerTime is proud to offer this super nice Men’s 36mm Genuine Rolex Solid 18K Yellow Gold Datejust Watch ref #1601 with a Black Diamond Dial and 1 ct Diamond Bezel.  This Genuine Rolex has been fitted with a brand new custom aftermarket Black leather strap. It is in SUPER EXCELLENT CONDITION.

Brand Rolex
Model Name Datejust
Model No. 1601
Gender Men’s
Case Diameter 36mm
Box No
Papers No
(if all factory)
Warranty Yes – BeckerTime 1 Year Warranty [?]
Condition [What is this?] Preowned – Super Excellent Condition
This Rolex comes with the BeckerTime Lifetime Trade-Up Guarantee
Crystal Type Acrylic Crystal
Max Wrist Size 8″ wrist
Additional Links No
Watch Features
Movement Original Rolex officially certified chronometer self-winding automatic movement
Dial Original Rolex dial has been professionally refinished in BLACK with 10 custom added genuine round brilliant diamonds
Bezel Genuine 1.00 carat diamond bezel is perfect condition. This bezel is not made by Rolex. It is a custom aftermarket bezel of the finest quality with round brilliant diamonds bead set in solid 18k white gold. The diamonds are eye clean and face up right white with very strong fire. VS2/SI1 clarity, G/H color.
Case Original Rolex solid 18k yellow gold case
Band Genuine BLACK leather strap with plain gold-tone buckle is brand new. This strap is not made by Rolex.  It is a custom made aftermarket band.

THIS IS A FILE PHOTO.What does that mean?

Water Resistance - Although we may pressure test a watch prior to being shipped, we do not guarantee any watch to be waterproof and do not cover any water issues ...

Box and Papers - All box and papers do is guarantee the box and papers are authentic. The bad guys know that people put trust into original papers so by putting ...

Warranty – This warranty applies to the movement of the watch only. Watch movements are warrantied to perform as described in the BeckerTime item description ...

Processing Time - All items are shipped from our facility FOUR (4) BUSINESS DAYS from the date payment is received. Please be patient as this processing time is ...

International Bidders - Most countries charge customs duties taxes and fees on items being imported from the USA. You are responsible to know your Country's ...


text:
June 18, 2014 @ 8:00 pm
Education Center at Berkshire Botanical Garden
Members $20; Nonmembers $25
Elisabeth Cary
413.298.3926, x15

14.6.18 Seeing FlowersWe’ve all seen red roses, blue irises and yellow daffodils. But when we really look closely at a flower, whole new worlds of beauty and intricacy emerge. Join author Teri Dunn Chace for this illustrated talk based on her recent book, Seeing Flowers: Discover the Hidden Life of Flowers. Chace’s lyrical and illuminating essays complement the extraordinarily detailed floral images by photographer Robert Llewellyn. Chace will offer insights on each flower by exploring distinguishing characteristics and share fascinating tidbits, tales and lore as we view images revealing amazing details of stamens and pistils, shadings on a petal or the secret recesses of nectar tubes.

Teri Dunn Chace is a writer and editor with more than 30 titles in publication, including How to Eradicate Invasive Plants and The Anxious Gardener’s Book of Answers. She’s also written and edited extensively for Horticulture, North American Gardener, Backyard Living and Birds & Blooms.

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Berkshires In Bloom

Be A Force Of Nature


text:
“Hey now, kids, come gather ’round. See what just skipped into town…”

We all know the hula hoop was fun (you know… for kids!), but what about a hula hoop for your ankle? Well, now we’re getting somewhere.

When Victor Petrusek secured a patent for the Skip-It in 1989, Tiger Toys jumped on it and turned it into a gold mine.

Part of the genius was how incredibly simplistic the thing was–– a plastic wheely-ball fused onto the end of a stiff stick of plastic, with a foot-sized loop at the other end. Slip your foot through the loop and start (kinda) running in place. PRESTO! You got yourself the hottest new toy, buckaroo!

Skip-It was a late 80s/early 90s phenomenon that took the country by storm. So much so that it was constantly being NEW! and IMPROVED! First, a counter was added to the ball, so you could ‘keep score’, and then we got ‘hot new colors’, and then all kinds of customize-able decorations (you know… stickers and the like).

The Skip-It actually had a pretty decent shelf-life, lasting well into the 21st century. It’s since been discontinued, but is still quite the cult fav. Need proof? Check out this rather amusing video from early 2012.

We ♥ Skip-It.

~ by weheart80s on March 13, 2012.

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text:
Project Collection Day, and an Introduction

Unit 2: The Number Line Project
Lesson 9 of 9

Objective: SWBAT reflect on and describe what they've learned over the last two weeks, working on the Number Line Project.

Big Idea: One of my goals this year is to cultivate in students an ability to explain what they've learned. Today's reflection serves as a baseline assessment in that work.

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reflection example
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Review of Angles
12th Grade Math » Solving Problems Involving Triangles
Big Idea: Through a flipped classroom activity students prepare for a quiz over key terms of angles and apply the terminology to draw models for real world situations.
Independence, MO
Environment: Suburban
Katharine Sparks
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Archive for the ‘Exactly Wrong’ category

Dr Sanjay Gupta Gets Medicine and Race Exactly Wrong

July 26, 2009

I’m not a Sanjay Gupta fan. As an Indian-American medical student who has an interest in communicating medicine to the public, the comparison comes up from time to time.

He’s got a 2 minute short up on CNN.com here. Read the URL, it’s more than a little sensational, referring to “medical apartheid,” and the video itself isn’t much better.