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I may name the title of my next duck quotes book: “I shit where I want.” The cover will feature ducks, but inside the book I may sneak in a few photos of homeless people in San Francisco.

If you've taken a photo with your camera's pop-up flash, you're probably wondering how camera manufacturers list pop-up flash as a feature and keep a straight face. It's probably because the term "pop-up flash" is actually a marketing phrase dreamed up by a high-powered PR agency, because its original, more descriptive, and more accurate name is actually "the ugly-maker.

But, you see, Jo wasn’t a heroine, she was only a struggling human girl like hundreds of others, and she just acted out her nature, being sad, cross, listless, or energetic, as the mood suggested. It’s highly virtuous to say we’ll be good, but we can’t do it all at once, and it takes a long pull, a strong pull, and a pull all together before some of us even get our feet set in the right way.

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

He was gorgeous. Every feature on his face perfect, dark and inviting. The boy could be his own photo shoot." Kasey Reese - Men of the Cave

No matter what she did, she could never escape being her father’s greatest mistake. A mistake carved in her features, painted on her skin, knitted in her hair. She would never be good enough or white enough. For him. For the kids at school. For the women in the photos plastered on her closet walls. She hated them.

The conference is geared to people who enjoy meaningful discussions and sometimes "move a conversation to a deeper level, only to find out we are the only ones there." . . . When it's my turn, I talk about how I've never been in a group environment in which I didn't feel obliged to present an unnaturally rah-rah version of myself. . . . Scientists can easily report on the behavior of extroverts, who can often be found laughing, talking, or gesticulating. But "if a person is standing in the corner of a room, you can attribute about fifteen motivations to that person. But you don't really know what's going on inside." . . . So what is the inner behavior of people whose most visible feature is that when you take them to a party they aren't very pleased about it? . . . The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive . . . . They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions--sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments--both physical and emotional--unusually deeply. They tend to notice subtleties that others miss--another person's shift in mood, say, or a lightbulb burning a touch too brightly. . . . [Inside fMRI machines], the sensitive people were processing the photos at a more elaborate level than their peers . . . . It may also help explain why they're so bored by small talk. "If you're thinking in more complicated ways," she told me, "then talking about the weather or where you went for the holidays is not quite as interesting as talking about values or morality." The other thing Aron found about sensitive people is that sometimes they're highly empathic. It's as if they have thinner boundaries separating them from other people's emotions and from the tragedies and cruelties of the world. They tend to have unusually strong consciences. They avoid violent movies and TV shows; they're acutely aware of the consequences of a lapse in their own behavior. In social settings they often focus on subjects like personal problems, which others consider "too heavy.

Ask yourself: Are you spending your time on the right things? You may have causes, goals, interests. Are they even worth pursuing? I've long held on to a clipping from a newspaper in Roanoke, Virginia. It featured a photo of a pregnant woman who had lodged a protest against a local construction site. She worried that the sound of jackhammers was injuring her unborn child. But get this: In the photo, the woman is holding a cigarette. If she cared about her unborn child, the time she spent railing against jackhammers would have been better spent putting out that cigarette.

And that’s how Canning and I came to have a big framed photo on our living room wall featuring the entire Toronto team dressed in very loud gingham. I swear the color rendered a little bolder in print than it looks in real life, because this photo is kind of blinding. But Jamie snickers whenever I suggest that.

You can tell the archaeologists, of course, by their photos. The tourists’ photos feature people in front of mountains, terraces, stone structures, sundials. The archaeologists wait until the people move away to take theirs: they want the terrace, the stone wall, the lintel, the human-made thing, all sans humans.

Her brother's desk was austere, save for a small photo of Lewis and a coffee mug featuring a math geek's coy declaration of love: √-1 <3 μ.

Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating. After

Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating.

When the photo is developed, she's sure, if you look closely, you'll see the shadow cast across your skin , the eyes both seeing her and seeing the world, the honesty resting calmly on your features. If you look closely, you might see a tear making a journey from eye to cheek, as you cry for her. If you look closely, you'll see what has always seen, what she always will: you

He had launched his “Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating.

I am not trying to say that a passport photo of himself can cure a gloomy man of a gloom for which there is no ground; for true gloom is by nature groundless; such gloom, ours at least, can be traced to no identifiable cause, and with its almost riotous gratuitousness this gloom of ours attained a pitch of intensity that would yield to nothing. If there was any way of making friends with our gloom, it was through the photos, because in these serial snapshots we found an image of ourselves which, though not exactly clear, was - and that was the essential - passive and neutralized. They gave us a kind of freedom in our dealings with ourselves; we could drink beer, torture our blood sausages, make merry and play. We bent and folded the pictures, and cut them up with little scissors we carried about with us for this precise purpose. We juxtaposed old and new pictures, made ourselves one-eyed or three-eyed, put noses on our ears, made our exposed right ears into organs of speech or silence, combined chins and foreheads. And it was not only each with his own likeness that we made these montages; Klepp borrowed features from me and I from him: thus we succeeded in making new, and we hoped, happier creatures.

How do I focus it?” Joe asked him, lowering the camera. “Oh, don’t bother about that. Just look at me and push the little lever. Your mind will do the rest.” “My mind.” Joe snapped a photo of his host, then handed the camera back to him. “The camera is …” He searched for the word in English. “Telepathic.” “All cameras are,” his host said mildly. “I have been photographed now by seven thousand one hundred and … eighteen … people, all with this camera, and I assure you that no two portraits are alike.” He handed the camera to Sammy, and his features, as if stamped from a machine, once more settled into the same corpulent happy mask. Sammy snapped the lever. “What possible other explanation can there be for this endless variation but interference by waves emanating from the photographer’s own mind?

It's her. The woman from the photo." The plate was foxed around the edges, but the painting at its center was still intact. The annotation beneath gave the title as Sleeping Beauty and the artist's name, Edward Radcliffe. The woman in the painting was lying in a fantastical treetop bower of leaves and flower buds, all of which were waiting in stasis for the chance to bloom. Birds and insects were interspersed amongst the woven branches; long red hair flowed in waves around her sleeping face, which was glorious in repose. Her eyes were closed, but the features of her face- the elegant cheekbones and bow lips- were unmistakable. "She was his model," Elodie whispered.

Even traveling despondently is better than arriving here.” To welcome visitors the arrivals hall featured a picture of the president of NowWhat, smiling. It was the only picture anybody could find of him, and it had been taken shortly after he had shot himself, so although the photo had been retouched as well as could be managed, the smile it wore was rather a ghastly one.

Their physical features hadn’t changed much over the years—Alessandra possessed the same flawless skin and stunning bone sculpture, Dominic the same golden hair and chiseled jaw—yet I hardly recognized the people in the photo. In it, Alessandra’s face glowed with joy, and her new husband gazed down at her with obvious adoration. They looked young and happy and so incredibly in love.

When he was restored to the throne at Apple, we put him on the cover of Time, and soon thereafter he began offering me his ideas for a series we were doing on the most influential people of the century. He had launched his “Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating.

Another site of Leftist struggle [other than Detroit] that has parallels to New Orleans: Palestine. From the central role of displacement to the ways in which culture and community serve as tools of resistance, there are illuminating comparisons to be made between these two otherwise very different places. In the New Orleans Black community, death is commemorated as a public ritual (it's often an occasion for a street party), and the deceased are often also memorialized on t-shirts featuring their photos embellished with designs that celebrate their lives. Worn by most of the deceased's friends and family, these t-shirts remind me of the martyr posters in Palestine, which also feature a photo and design to memorialize the person who has passed on. In Palestine, the poster's subjects are anyone who has been killed by the occupation, whether a sick child who died at a checkpoint or an armed fighter killed in combat. In New Orleans, anyone with family and friends can be memorialized on a t-shift. But a sad truth of life in poor communities is that too many of those celebrate on t-shirts lost their lives to violence. For both New Orleans and Palestine, outsiders often think that people have become so accustomed to death by violence that it has become trivialized by t-shirts and posters. While it's true that these traditions wouldn't manifest in these particular ways if either population had more opportunities for long lives and death from natural causes, it's also far from trivial to find ways to celebrate a life. Outsiders tend to demonize those killed--especially the young men--in both cultures as thugs, killers, or terrorists whose lives shouldn't be memorialized in this way, or at all. But the people carrying on these traditions emphasize that every person is a son or daughter of someone, and every death should be mourned, every life celebrated.

The jury was composed of eight blacks and four whites. Hoffa and his attorney, the legendary Edward Bennett Williams, struck only white jurors in the selection process. Hoffa had a black female lawyer flown in from California to sit at counsel table. He arranged for a newspaper, The Afro-American, to run an ad praising Hoffa as a champion of the “Negro race.” The ad featured a photo of Hoffa’s black-and-white legal team. Hoffa then had the newspaper delivered to the home of each black juror. Finally, Hoffa’s Chicago underworld buddy Red Dorfman had the legendary boxing champion Joe Louis flown in from his Detroit home. Jimmy Hoffa and Joe Louis hugged in front of the jury as if they were old friends. Joe Louis stayed and watched a couple of days of testimony. When Cye Cheasty testified, Edward Bennett Williams asked him if he had ever officially investigated the NAACP. Cheasty denied he had, but the seed was planted. Hoffa was acquitted. Edward

I once read the most widely understood word in the whole world is ‘OK’, followed by ‘Coke’, as in cola. I think they should do the survey again, this time checking for ‘Game Over’. Game Over is my favorite thing about playing video games. Actually, I should qualify that. It’s the split second before Game Over that’s my favorite thing. Streetfighter II - an oldie but goldie - with Leo controlling Ryu. Ryu’s his best character because he’s a good all-rounder - great defensive moves, pretty quick, and once he’s on an offensive roll, he’s unstoppable. Theo’s controlling Blanka. Blanka’s faster than Ryu, but he’s really only good on attack. The way to win with Blanka is to get in the other player’s face and just never let up. Flying kick, leg-sweep, spin attack, head-bite. Daze them into submission. Both players are down to the end of their energy bars. One more hit and they’re down, so they’re both being cagey. They’re hanging back at opposite ends of the screen, waiting for the other guy to make the first move. Leo takes the initiative. He sends off a fireball to force Theo into blocking, then jumps in with a flying kick to knock Blanka’s green head off. But as he’s moving through the air he hears a soft tapping. Theo’s tapping the punch button on his control pad. He’s charging up an electricity defense so when Ryu’s foot makes contact with Blanka’s head it’s going to be Ryu who gets KO’d with 10,000 volts charging through his system. This is the split second before Game Over. Leo’s heard the noise. He knows he’s fucked. He has time to blurt ‘I’m toast’ before Ryu is lit up and thrown backwards across the screen, flashing like a Christmas tree, a charred skeleton. Toast. The split second is the moment you comprehend you’re just about to die. Different people react to it in different ways. Some swear and rage. Some sigh or gasp. Some scream. I’ve heard a lot of screams over the twelve years I’ve been addicted to video games. I’m sure that this moment provides a rare insight into the way people react just before they really do die. The game taps into something pure and beyond affectations. As Leo hears the tapping he blurts, ‘I’m toast.’ He says it quickly, with resignation and understanding. If he were driving down the M1 and saw a car spinning into his path I think he’d in react the same way. Personally, I’m a rager. I fling my joypad across the floor, eyes clenched shut, head thrown back, a torrent of abuse pouring from my lips. A couple of years ago I had a game called Alien 3. It had a great feature. When you ran out of lives you’d get a photo-realistic picture of the Alien with saliva dripping from its jaws, and a digitized voice would bleat, ‘Game over, man!’ I really used to love that.

Christmas won’t be Christmas without any presents,” grumbled Jo, lying on the rug. “It’s so dreadful to be poor!” sighed Meg, looking down at her old dress. “I don’t think it’s fair for some girls to have plenty of pretty things, and other girls nothing at all,” added little Amy, with an injured sniff. “We’ve got Father and Mother, and each other,” said Beth contentedly from her corner. The four young faces on which the firelight shone brightened at the cheerful words, but darkened again as Jo said sadly, “We haven’t got Father, and shall not have him for a long time.” She didn’t say “perhaps never,” but each silently added it, thinking of Father far away, where the fighting was.

It was a wake-up call to me to learn that Airbnb was by no means unique: Instagram started as a location-based social network called Burbn (which had an optional photo feature). It attracted a core group of users and more than $500,000 in funding. And yet the founders realized that its users were flocking to only one part of the app—the photos and filters. They had a meeting, which one of the founders recounts like this: “We sat down and said, ‘What are we going to work on next? How are we going to evolve this product into something millions of people will want to use? What is the one thing that makes this product unique and interesting?’”7 The service soon retooled to become Instagram as we know it: a mobile app for posting photos with filters. The result? One hundred thousand users within a week of relaunching. Within eighteen months, the founders sold Instagram to Facebook for $1 billion. I know that seems simple, that the marketing lesson from Instragram is that they made a product that was just awesome. But that’s good news for you—it means there’s no secret sauce, and the second your product gets to be that awesome, you can see similar results. Just look at Snapchat, which essentially followed the same playbook by innovating in the mobile photo app space, blew up with young people, and skyrocketed to a $3.5-billion-dollar valuation with next-to-no marketing.

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

the device had the property of transresistance and should have a name similar to devices such as the thermistor and varistor, Pierce proposed transistor. Exclaimed Brattain, “That’s it!” The naming process still had to go through a formal poll of all the other engineers, but transistor easily won the election over five other options.35 On June 30, 1948, the press gathered in the auditorium of Bell Labs’ old building on West Street in Manhattan. The event featured Shockley, Bardeen, and Brattain as a group, and it was moderated by the director of research, Ralph Bown, dressed in a somber suit and colorful bow tie. He emphasized that the invention sprang from a combination of collaborative teamwork and individual brilliance: “Scientific research is coming more and more to be recognized as a group or teamwork job. . . . What we have for you today represents a fine example of teamwork, of brilliant individual contributions, and of the value of basic research in an industrial framework.”36 That precisely described the mix that had become the formula for innovation in the digital age. The New York Times buried the story on page 46 as the last item in its “News of Radio” column, after a note about an upcoming broadcast of an organ concert. But Time made it the lead story of its science section, with the headline “Little Brain Cell.” Bell Labs enforced the rule that Shockley be in every publicity photo along with Bardeen and Brattain. The most famous one shows the three of them in Brattain’s lab. Just as it was about to be taken, Shockley sat down in Brattain’s chair, as if it were his desk and microscope, and became the focal point of the photo. Years later Bardeen would describe Brattain’s lingering dismay and his resentment of Shockley: “Boy, Walter hates this picture. . . . That’s Walter’s equipment and our experiment,

Roan studied the photo in his hand. Shiloh Gallagher had to be twenty-nine years old according to what Maud had told him. Damned if she didn’t look twenty-five or so, her features unlined. She wasn’t model pretty, but she had an arresting face, with huge intelligent-looking green eyes. His gaze dropped to her mouth and he felt himself stir. Her mouth would make any man go crazy. Her upper lip was full, but thinner than her lower one. The shape of her mouth made him feel heat in his lower body. “Is she married?” “No,” Maud said. She’s single. Never did marry. I don’t know why. Shiloh’s a beautiful girl.” She was hardly a girl, but Roan said nothing because he was fully reacting to her as a woman. He wondered if she was curvy or rail thin. He was disgruntled over his avid curiosity. “I have no problem with it. You know I get up early and come in late. She’s going to have to fend for herself. I’m not cooking for her.” “Right,” Maud agreed. “She’s pretty shaken up, Roan. You might find that stressful until, hopefully, Shiloh will start to relax.” Shrugging, he slid the photo onto the desk. “Maud, I just hope I don’t stress her out with my award-winning personality,” he said, and he cracked a small, sour grin. Maud cackled. “I think you’ll like her, Roan. She’s a very kind person. An introvert like you. Just remember, she’s trying to write. Because of the stalking, she’s suffering from writer’s block and she’s got a book due to her editor in six months. So, she’s under a lot of other stress.” “I’ll handle it, Maud. No problem.” “Good,” Maud said, relieved. She sat up in the chair. “I’ll call Shiloh back, let her know she can come, and I’ll find out what time she’s arriving tomorrow. I’d like you to pick her up at the Jackson Hole Airport. So take that photo with you.” He stood, settling the cowboy hat on his head. “Don’t need the photo.” Because her face was already stamped across his heart. Whatever that meant. “I’ll find her after she deplanes, don’t worry. Just get back to me on the time.

know that taking a long walk was his preferred way to have a serious conversation. It turned out that he wanted me to write a biography of him. I had recently published one on Benjamin Franklin and was writing one about Albert Einstein, and my initial reaction was to wonder, half jokingly, whether he saw himself as the natural successor in that sequence. Because I assumed that he was still in the middle of an oscillating career that had many more ups and downs left, I demurred. Not now, I said. Maybe in a decade or two, when you retire. I had known him since 1984, when he came to Manhattan to have lunch with Time’s editors and extol his new Macintosh. He was petulant even then, attacking a Time correspondent for having wounded him with a story that was too revealing. But talking to him afterward, I found myself rather captivated, as so many others have been over the years, by his engaging intensity. We stayed in touch, even after he was ousted from Apple. When he had something to pitch, such as a NeXT computer or Pixar movie, the beam of his charm would suddenly refocus on me, and he would take me to a sushi restaurant in Lower Manhattan to tell me that whatever he was touting was the best thing he had ever produced. I liked him. When he was restored to the throne at Apple, we put him on the cover of Time, and soon thereafter he began offering me his ideas for a series we were doing on the most influential people of the century. He had launched his “Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating. After I had deflected his suggestion that I write a biography of him, I heard from him every now and then. At one point I emailed to ask if it was true, as my daughter had told me, that the Apple logo was an homage to Alan Turing, the British computer pioneer who broke the German wartime codes and then committed suicide by biting into a cyanide-laced apple. He replied that he wished he had thought of that, but hadn’t. That started an exchange about the early history of Apple, and I found myself gathering string on the subject, just in case I ever decided to do such a book. When my Einstein biography came out, he came to a book event in Palo Alto and

I have come to believe that our culture’s popular understanding of these difficult doctrines is often a caricature of what the Bible actually teaches and what mature Christian theology has historically proclaimed. To Laugh At, To Live By What do I mean by a caricature? A caricature is a cartoonlike drawing of a real person, place, or thing. You’ve probably seen them at street fairs, drawings of popular figures like President Obama, Marilyn Monroe, or your aunt Cindy. Caricatures exaggerate some features, distort some features, and oversimplify some features. The result is a humorous cartoon. In one sense, a caricature bears a striking resemblance to the real thing. That picture really does look like President Obama, Marilyn Monroe, or your aunt Cindy. Features unique to the real person are included and even emphasized, so you can tell it’s a cartoon of that person and not someone else. But in another sense, the caricature looks nothing like the real thing. Salient features have been distorted, oversimplified, or blown way out of proportion. President Obama’s ears are way too big. Aunt Cindy’s grin is way too wide. And Marilyn Monroe . . . well, you get the picture. A caricature would never pass for a photograph. If you were to take your driver’s license, remove the photo, and replace it with a caricature, the police officer pulling you over would either laugh . . . or arrest you. Placed next to a photograph, a caricature looks like a humorous, or even hideous, distortion of the real thing. Similarly, our popular caricatures of these tough doctrines do include features of the original. One doesn’t have to look too far in the biblical story to find that hell has flames, holy war has fighting, and judgment brings us face-to-face with God. But in the caricatures, these features are severely exaggerated, distorted, and oversimplified, resulting in a not-so-humorous cartoon that looks nothing like the original. All we have to do is start asking questions: Where do the flames come from, and what are they doing? Who is doing the fighting, and how are they winning? Why does God judge the world, and what basis does he use for judgment? Questions like these help us quickly realize that our popular caricatures of tough biblical doctrines are like cartoons: good for us to laugh at, but not to live by. But the caricature does help us with something important: it draws our attention to parts of God’s story where our understanding is off. If the caricature makes God look like a sadistic torturer, a coldhearted judge, or a greedy génocidaire, it probably means there are details we need to take a closer look at. The caricatures can alert us to parts of the picture where our vision is distorted.

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So, what time do you get off work? Would you like to grab something to eat afterward?” She released a soft exhale. “Derrick, you seem like a really nice guy, but didn’t you notice that I’m a lot older than you? How are you even in medical school? I know what you are ... you’re one of those young princes from overseas, aren’t you? From Romania maybe? You have such dark hair and eyes, like a gypsy.” He laughed. “I’m not so sure if that was a compliment or if I should be offended, but you’re not even close.” He continued to chuckle as he pulled out his wallet. “I was born in Massachusetts, I assure you, and I’m older than you think.” He was also ten years older than his driver’s license indicated, but he couldn’t share that with her. She peeked at his date of birth. “Twenty-five? I’m twenty-five! You barely look eighteen, while I probably look thirty,” she groaned. He furrowed his brow. “Most people say I look at least nineteen, so I’m above the legal age to date. That’s why I showed you my license, though. No one ever believes me,” he said through a laugh, attempting to set her at ease. “And you don’t look thirty. Twenty-nine tops,” he said, grinning. She smacked his arm. “Hey, that’s just mean to kick a girl when she’s already feeling inferior.” “Maybe that’s why I can’t get a pretty young woman to have dinner with me.” “I’m sure you get turned down all the time. Not!” He chuckled softly. “Actually, you’re the first woman I’ve asked out in a year.” She released a non-believing puff of air. “I’m flattered. But honestly, I really don’t have time to date. And ...” She paused, reaching into her backpack and pulling out her wallet too. She flipped it open and held it out for his inspection. “I have an eight-year-old daughter.” He stole a peek into the rearview mirror, then glanced at the picture of Janelle and her daughter. It appeared to be one of those shots taken at a cheap photo box booth in the mall. Her daughter had the same color hair, identical features, same smile. Even with the seventeen-year difference, they looked more like sisters than mother and daughter. “Nice try, but you failed to deter me. How about we study together at a coffee shop.” She released a long sigh. “You’re sweet —” “Oh, no ...” He laughed harder than before. He felt so natural with her. “Not sweet, anything but sweet.” She

There was a framed photograph hung on the wall in front of me, and when I said your name I saw you in the picture. Well, I saw your back, and your ling, bright ponytail fluttering. The image is black and white, and you're running, and you cast a number of shadows that cluster about you like a bouquet. There's a figure running a little ahead of you and at first that figure seems to be a shadow too, except that it casts a backward glance that establishes an entirely separate personality. The figure's features are wooden, but mobile-some sort of sprite moves within, not gently, but convulsively. A beauty that rattles you until you're in tears, that was my introduction to Rowan Wayland. You and the puppet-I decided it was a puppet- were leaping through an open door, and in the corner of that distant room was a cupboard, fallen onto its side There was a sign on the cupboard door. (I tilted my head: The sign read TOYS.) It's a photo in which lines abruptly draw back from each other and the ceilings and floors spin off in different directions, but for all the world that's pictured doesn't seem to be ending. You were both running in place, you blurred around the edges, and the puppet hardly blurred at all, and the puppet was looking back, not at you, but at me. It felt like the two of you were running for your lives, for fear I'd take them Or you could've been racing eaxh other home. TOYS, the sign reads, but signs aren't guarantees. Either way I wanted to go too, and wished the puppet would hold out its hand to me, or beckon me, or do something more than return my gaze with that strange tolerance

Attempting to define reality is a core feature of authoritarianism. This is what the Soviets did when they erased political dissidents from historical photos. This is what happens in George Orwell’s classic novel Nineteen Eighty-Four, when a torturer holds up four fingers and delivers electric shocks until his prisoner sees five fingers as ordered. The goal is to make you question logic and reason and to sow mistrust toward exactly the people we need to rely on: our leaders, the press, experts who seek to guide public policy based on evidence, ourselves. For Trump, as with so much he does, it’s about simple dominance.

Good looks, for example, are denoted by symmetrical features—a sign that early life development was not disrupted by infection—and skin that shows no trace of pockmarks, sores, or other blemishes. With that in mind, you’d expect beauty to be more valued by those more susceptible to germs—a theory that evolutionary biologists put to the test in a survey of over seventy-one hundred people on six continents. In keeping with their prediction, those who lived in countries where parasites were leading causes of death and disability—in Nigeria and Brazil, for example—deemed good looks much more important in a mate than did inhabitants of nations like Finland and the Netherlands, which have among the lowest incidences of infection. In a British study, merely prompting people to think of germs—by, for example, showing them photos of a festering skin sore or a white cloth with a dark stain resembling a fecal smear—boosted how much they preferred symmetrical faces in the opposite sex.

One particular contribution, featured on the cover of Time in 2016, shows a nearly naked Sudanese teenager, pregnant with her rapist’s child—an image that no magazine would feature of an American girl. Discussing her 2018 photo book, Of Love & War, Addario’s own bravery at going out into a war zone is front and center, while the heroism of the civilians actually enduring war, imposed by the United States and its allies, never comes up.

Do you realize the damage that a gunshot through the mouth creates?” She flipped over a glossy image and pushed it forward with a slow and calculated hand. “The bullet passes through an enormous number of blood vessels before piercing the brain and exiting out through the back of the skull.” I leaned over and looked at the photo without comment, unsurprised to see a large exit hole in the top of the head. Nasty stuff, but I had seen worse. A face bloated, the lips splitting open as the features swelled past recognition. The alarmed look on the face of a man you had once loved, just before he dies. The sound of his begging that still echoes in the dark recesses of my mind.

Then I read a section in one of the books that featured a long line of photos of a woman making various expressions—transitioning slowly from a sad face to an angry one. A study at the University of Wisconsin showed these pictures to children who had not experienced abuse, then to children who had.[1] The abused kids thought that more of these photos presented an angry threat than the children from normal homes. They were hyperalert to even the smallest twinges in facial expressions.

Over forty kittens were delivered in for a “kitten photo shoot” to be featured on the dishes in Professor Umbridge’s office.

Besides the local residents, Meraud frequently entertained visitors from other parts of the world. There was an extremely eccentric Spanish marquise, a royalist who had fled Franco and was plotting the return of the monarchy to Spain. She was an aggressive lesbian who seemed to expect Meraud to provide her with a female companion. Meraud balked at this, complaining that she had no intention of procuring for any of her guests. One day the marquise showed me the jacket of a book she had written about the Spanish War under a male pseudonym, featuring a photo of the marquise cross-dressed as a man, with a fake mustache to enhance the illusion.

Attributes like “15-megapixel camera” or “all-metal construction” enable benefits for customers such as “sharper images” or “a stronger frame.” Articulating value takes the benefits one step further: putting benefits into the context of a goal the customer is trying to achieve. Value could be “photos that are sharp even when printed or zoomed in,” “a frame that saves you money on replacements,” “every level of the organization knows the status of key metrics” or “help is immediately available across every time zone.” Features enable benefits, which can be translated into value in unique customer terms.

Moving from “features” to “benefits” and then to “value” often confuses people, particularly folks who come from a technical background. An engineer by training, I often viewed features and the benefits derived from those features as interchangeable early in my career. For many consumer technical products, features are presented as valuable in their own right—but only because we do the translation to value automatically in our heads. For example, phone makers have often represented the quality of their cameras by talking about the number of megapixels. Consumers have been trained to translate megapixels to photo quality and therefore believe that cameras with more megapixels take better photos. Digging a bit deeper, the value of “better photos” for most consumers means sharper, more detailed images when printed or zoomed in.

these features have the potential to create an ecosystem in which attention is more directly and precisely compensated. It won’t necessarily end the phenomenon of “clickbait” journalism—presumably, if stories on Kim Kardashian continue to draw people’s attention, they will fetch the highest payouts in BATS. But the option to tip publishers could send more nuanced, informative signals to them. We don’t know for sure how people will behave, but perhaps they’ll be more inclined to tip BATs for a work of insight and effort than for a sexy photo they felt compelled to click on.

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

I briefly think about how great of an idea it would be to release a cookbook featuring photos of shirtless men cooking the recipes. I would buy it.

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Users pass through the Investment Phase of the Hook Model each time they send a selfie, doodle, or goofy photo. Each photo or video sent contains an implicit prompt to respond and the Snapchat interface makes returning a pic incredibly easy by double tapping the original message to reply. The self-destruct feature encourages timely responses, leading to a back-and-forth relay that keeps people hooked into the service by loading the next trigger with each message sent.

The speeches she is making with almost weekly regularity are a further satisfying feature of her royal life. Some she writes herself, others by a small coterie of advisers, including her private secretary Patrick Jephson, now a firm ally in the royal camp as she personally appointed him last November. It is a flexible informal group who discuss with the Princess the points she wants to make, research the statistics and then construct the speech. The contrast between her real interests and the role assigned for her by her palace “minders” was amply demonstrated in March this year where on the same day she was guest of honour at the Ideal Home Exhibition and in the evening made a passionate and revelatory speech about AIDS. There was an interesting symbolism to these engagements, separated only by a matter of hours but by a generation in personal philosophy. Her exhibition visit was organized by the palace bureaucracy. They arranged everything from photo opportunities to guests lists while the subsequent media coverage concentrated on an off-the-cuff remark the Princess made about how she couldn’t comment on her plans for National Bed Week because this was “a family show”. It was light, bright and trite, the usual offering which is served up by the palace to the media day in day out. The Princess performed her role impeccably, chatting to the various organizers and smiling for the cameras. However her performance was just that, a role which the palace, the media and public have come to expect. A glimpse of the real Diana was on show later that evening when in the company of Professor Michael Adler and Margaret Jay, both AIDS experts, she spoke to an audience of media executives at a dinner held at Claridges. Her speech clearly came from the heart and her own experience. Afterwards she answered several rather long-winded questions from the floor, the first occasion in her royal life where she had subjected herself to this particular ordeal. This episode passed without a murmur in the media even though it represented a significant milestone in her life. It illustrates the considerable difficulties she faces in shifting perceptions of her job as a Princess, both inside and outside the palace walls.

Instead of blindly making content in a spray-and-pray manner, you can first narrow in on: Your creative unit (such as a standard TikTok video, as opposed to a carousel or photo) Your creative format (such as filming a TikTok video with “pov: you’re a girl dad” in the title), and Platform features you want to use (such as TikTok’s content creation tools to type out the title in-app, as opposed to adding it through a different video editing software).

Beautiful world provides the best information and photos of the world's most stunning natural wonders. We cover their location, how to get to them, when to visit, trails, hotels, and their special features. National Parks and UNESCO sites are mixed amongst individual mountains and lakes. Islands and beaches feature as do some of the world's most amazing rock formations and caves. Beautifulworld.com is a great resource for travelers and students.

In other words, not all networked products experience context collapse as rapidly as others. When users are able to group themselves, they prove particularly resilient. Facebook Groups provide separate smaller and more disjointed spaces away from the main newsfeed, as do Snap Stories as a complement to the app’s 1:1 photo messaging features—both provide a network within a network that can hold its own context. Instagram’s usage patterns include “finstas”—secondary and tertiary accounts—where different content can be shared. Each has different sets of followers attached to them, so that photos can be posted away from the prying eyes of parents and bosses.

Data could be misleading sometimes, too. In the early days, Dropbox was growing so fast that it was often hard to do analyses on what types of content people were putting in their folders. One of the simplest analyses was to randomly sample snapshots of folders, and count the file extensions. Perhaps it is not surprising to some that the most popular files were photos—lots and lots of photos, especially on mobile. Combined with the natural virality of this media type, Dropbox embarked on a road map of photos-related features, culminating in the launch of Carousel, a separate app to let consumers manage and view their photos on Dropbox. It did okay, but underperformed relative to expectations and was eventually shut down so that the company could invest in what is now its core focus: businesses.

Switching over Entire Networks Part of why cherry picking can be dangerous for the incumbent is that the upstart networks can reach over and directly acquire an entire set of users who have been conveniently aggregated on your network. It’s just software, after all, and users can spread competitors within an incumbent’s network by using all the convenient communication and social tools. Airbnb is again an example of this. The company not only unbundled Craigslist and turned the shared rooms idea into an entire product, but they actually used Craiglist users to advertise Airbnb to other users. How? Early on, Airbnb added functionality so that when a host was done setting up their listing, they could publish it to Craigslist, with photos, details, and an “Interested? Got a question? Contact me here” link that drove Craigslist users back to Airbnb. These features were accomplished not by using APIs provided by Craigslist, but by reverse-engineering the platform and creating a bot to do it automatically—clever! I first wrote about this in 2012 on my blog, in a post titled “Growth Hacker is the new VP Marketing” with this example in mind. By the time Craigslist decided it didn’t like this functionality and disabled it, months had passed and Airbnb had formed its atomic network. The same thing happened in the early days of social networks, when Facebook, LinkedIn, Skype, and others grew on the back of email contacts importing from Hotmail, Yahoo Mail, and other mail clients. They used libraries like Octazen—later acquired by Facebook—to scrape contacts, helping the social networks grow and connect their users. At the time, these new social networks didn’t look like direct threats to email. They were operating within niche parts of messaging overall, focused on college and professional networks. It took several years for the email providers to shut down access after recognizing their importance. When an incumbent has its network cherry-picked, it’s extra painful along two dimensions: First, any network that is lost is unlikely to be regained, as anti-network effects kick back in. And second, the decline in market share hits doubly hard, which has implications for being able to raise money.

Over the years, Facebook has executed an effective playbook that does exactly this, at scale. Take Instagram as an example—in the early days, the core product tapped into Facebook’s network by making it easy to share photos from one product to the other. This creates a viral loop that drives new users, but engagement, too, when likes and comments appear on both services. Being able to sign up to Instagram using your Facebook account also increases conversion rate, which creates a frictionless experience while simultaneously setting up integrations later in the experience. A direct approach to tying together the networks relies on using the very established social graph of Facebook to create more engagement. Bangaly Kaba, formerly head of growth at Instagram, describes how Instagram built off the network of its larger parent: Tapping into Facebook’s social graph became very powerful when we realized that following your real friends and having an audience of real friends was the most important factor for long-term retention. Facebook has a very rich social graph with not only address books but also years of friend interaction data. Using that info supercharged our ability to recommend the most relevant, real-life friends within the Instagram app in a way we couldn’t before, which boosted retention in a big way. The previous theory had been that getting users to follow celebrities and influencers was the most impactful action, but this was much better—the influencers rarely followed back and engaged with a new user’s content. Your friends would do that, bringing you back to the app, and we wouldn’t have been able to create this feature without Facebook’s network. Rather than using Facebook only as a source of new users, Instagram was able to use its larger parent to build stronger, denser networks. This is the foundation for stronger network effects. Instagram is a great example of bundling done well, and why a networked product that launches another networked product is at a huge advantage. The goal is to compete not just on features or product, but to always be the “big guy” in a competitive situation—to bring your bigger network as a competitive weapon, which in turn unlocks benefits for acquisition, engagement, and monetization. Going back to Microsoft, part of their competitive magic came when they could bring their entire ecosystem—developers, customers, PC makers, and others—to compete at multiple levels, not just on building more features. And the most important part of this ecosystem was the developers.

The Instagram versus Hipstamatic story is perhaps the canonical example of a strategy made famous by Chris Dixon’s 2015 essay “Come for the tool, stay for the network.” Chris writes: A popular strategy for bootstrapping networks is what I like to call “come for the tool, stay for the network.” The idea is to initially attract users with a single-player tool and then, over time, get them to participate in a network. The tool helps get to initial critical mass. The network creates the long term value for users, and defensibility for the company.40 There are many other examples across many sectors beyond photo apps: The Google Suite provides stand-alone tools for people to create documents, spreadsheets, and presentations, but also network features around collaborative editing, and comments. Games like Minecraft or even classics like Street Fighter can be played in single-player mode where you play against the computer, or multiplayer mode where you play with friends. Yelp started out effectively as a directory tool for people to look up local businesses, showing addresses and phone numbers, but the network eventually built out the database of photos and reviews. LinkedIn started as a tool to put your resume online, but encouraged you to build up your professional network over time. “Come for the tool, stay for the network” circumvents the Cold Start Problem and makes it easier to launch into an entire network—with PR, paid marketing, influencers, sales, or any number of tried-and-true channels. It minimizes the size requirement of an atomic network and in turn makes it easy to take on an entire network. Whether it’s photo-sharing apps or restaurant directories, in the framework of the Cold Start Theory, this strategy can be visualized. In effect, a tool can be used to “prop up” the value of the network effects curve when the network is small.

Today, the IDF Instagram page regularly features pro-gay and pro-feminist messaging alongside its hard-line militaristic iconography.13 On October 1, 2021, the IDF posted across its social media platforms a photo of its headquarters swathed in pink light with this message: “For those who are fighting, for those who have passed, and for those who have survived, the IDF HQ is lit up pink this #BreastCancerAwarenessMonth.” Palestinian American activist Yousef Munayyer responded on Twitter: “An untold number of women in Gaza suffer from breast cancer and are routinely denied adequate treatment and timely lifesaving care because this military operates a brutal siege against over 2 million souls.” On Instagram, however, most of the comments below the post praised the IDF.

We all carry this weight: the constantly refreshing feed and the photo memories feature remind us of our rearview even when we want to look forward.

The Israeli social media strategy aimed to involve both domestic and global supporters of its military missions. By doing so, and asking backers to post their own supporting tweets, Face-book posts, or Instagram images, the IDF created a collective mission that other nations could easily mimic by stirring up nationalist fervor online. During Operation Pillar of Defense, the IDF encouraged supporters of Israel to both proudly share when “terrorists” were killed while at the same time reminding a global audience that the Jewish state was a victim. It was a form of mass conscription to the cause through the weaponization of social media.12 This was war as spectacle, and the IDF was spending big to make it happen. The IDF media budget allowed at least 70 officers and 2,000 soldiers to design, process, and disseminate official Israeli propaganda, and almost every social media platform was flooded with IDF content. Today, the IDF Instagram page regularly features pro-gay and pro-feminist messaging alongside its hard-line militaristic iconography.13 On October 1, 2021, the IDF posted across its social media platforms a photo of its headquarters swathed in pink light with this message: “For those who are fighting, for those who have passed, and for those who have survived, the IDF HQ is lit up pink this #BreastCancerAwarenessMonth.” Palestinian American activist Yousef Munayyer responded on Twitter: “An untold number of women in Gaza suffer from breast cancer and are routinely denied adequate treatment and timely lifesaving care because this military operates a brutal siege against over 2 million souls.” On Instagram, however, most of the comments below the post praised the IDF.

The maximum image quality is 1,952 x 1,536 pixels. This camera has a maximum bit rate of 50 Mbps which is one of the most important factors in digital cameras. In addition, the maximum storage capacity of this camera is 128GB, and that's something which is almost enough for one photo per second.

Whether we are aware of it or not, there is a good likelihood that any preferences for how your body looks are shaped by media-influenced ideals.8 If you are surrounded by highly air-brushed photos in magazines, heavily filtered images on social media and TV programmes featuring wealthy celebrities who can afford cosmetic surgery procedures to keep them looking as slim and youthful as possible, it can make you feel a bit shit about yourself by comparison, you know?

Campaigns A “humble campaign” is very similar to Sean and Alan’s approach: launch a small campaign as your first project to learn the ropes, then launch a more ambitious project later. Humble campaigns aren’t meant to raise $100,000+ from thousands of backers, though. They have humble ambitions. Not only is this good for running the campaign itself, but it also gives you the opportunity to learn how to create and ship something without the pressure of thousands of backers. The other benefit of a humble campaign is that it’s not as all consuming as a big, complex project. You might actually get to sleep and eat on a regular schedule during a humble campaign. A prime example of a humble campaign is Michael Iachini’s light card game, Otters. In a postmortem blog post6 following his successful campaign ($5,321 raised from 246 backers), Michael outlined the five core elements of a humble campaign: • Low funding goal Keep the product simple and find a way to produce it in small print runs. • Paid graphic design Just because a campaign is humble doesn’t mean it shouldn’t look polished and professional. • Creative Commons art The cards in Otters feature photos of actual otters downloaded from Google Images using a filter for images that are available for reuse (even for commercial purposes, pending credit to the photographers). • Efficient marketing Instead of spending every waking hour on social media, Michael targeted specific reviewers and offered them prototype copies of Otters before the campaign. All he had to do during the campaign was share the reviews when they went live. • Limited expandability Michael offered exactly two stretch goals (compared with dozens for many other projects) and one add-on. In doing so, he intentionally limited the growth potential for the project. You might read this and wonder why you would want to run a humble campaign for $12K or $5K when you create something that could raise $100K. Aside from the standard cautionary tales about letting a project spiral out of control, maintaining a manageable project is like having a summer internship before jumping into a career at an unknown organization. It gives you the chance to poke around, experience the pros and cons firsthand, and make a few mistakes without jeopardizing your entire future.

In 2015, Google's image-recognition algorithm confused Black users with gorillas. The company's 'immediate action' in response to this was 'to prevent Google Photos from ever labelling any image as a gorilla, chimpanzee, or monkey - even pictures of the primates themselves.' Several years later, Google's 2018 Arts & Culture app with its museum doppelganger feature allowed users to find artwork containing figures and faces that look like them, prompting problematic pairings as the algorithm identified look-alikes based on essentializing ethnic of racialized attributes. For many of us, these 'tools' have done little more than gamify racial bias.

Relationship anarchy is a philosophy that rejects definitions and rules, Bergman told me, drinking a Moscow mule, the ring on his pinky distracting from an otherwise normal outfit. The ring hadn’t been featured in any of his photos.

The intention to harm or exclude may guide some technical design decisions. Yet even when they do, these motivations often stand in tension with aims framed more benevolently. Even police robots who can use lethal force while protecting officers from harm are clothed in the rhetoric of public safety.35 This is why we must separate “intentionality” from its strictly negative connotation in the context of racist practices, and examine how aiming to “do good” can very well coexist with forms of malice and neglect.36 In fact a do-gooding ethos often serves as a moral cover for harmful decisions. Still, the view that ill intent is always a feature of racism is common: “No one at Google giggled while intentionally programming its software to mislabel black people.”37 Here McWhorter is referring to photo-tagging software that classified dark-skinned users as “gorillas.” Having discovered no bogeyman behind the screen, he dismisses the idea of “racist technology” because that implies “designers and the people who hire them are therefore ‘racists.’” But this expectation of individual intent to harm as evidence of racism is one that scholars of race have long rejected.38

keep the pot boiling, the Mirror got a popular psychologist, Dr. William Marston, to make “a close study of the photographs of the petite film star.” As the inventor of the lie detector test and eventual creator of Wonder Woman, Marston obviously had the probity for the job. He determined that Mary was “a pleasure seeker, secretive . . . a square shooter . . . an introspective, pugnacious individual,” who was “inclined to be oblivious to the ordinary conventions and social rules when she is set on a course of her own.” A photo of her face in profile showed that her forehead, nose, and chin barely protruded to the vertical line they had superimposed on the picture. This meant they were “hidden” features, evidence that Mary was a secretive type.

It was a complete life review. I don’t know how long it lasted, but it was wonderful. It was so wonderful and memorable that I didn’t want it to end. There were people and experiences featured that I hadn’t thought about for years. Everything about my life was coming back in picture form. And, surprisingly, the first picture – the first movie frame – was of me riding a red tricycle; I was about 3 or 4 years old. Years later, after telling my dad about this life review experience, he disappeared into the attic of the family home only to emerge and descend with an old black and white photo, saying, “Here’s that picture of you on your red tricycle.” Coincidence, perhaps, but I really don’t think so. In addition to that powerful initial movie frame of me on a red tricycle, I remember, in general, additional life review highlights that included

Steve became so exasperated with Motorola’s work that he asked Fadell to develop his own prototypes for an Apple cellphone, the first featuring music and the second focusing on video and photos.

Point them to your top posts. This is an opportunity to invite them to “sample the brew.” Draw them further into your content. Give them a taste of your best writing. Google Analytics or even your blog’s stats package can provide you with a list of your most popular posts of all time. You should also point them to your blog’s archive for more content. Adventurous Kate’s featured posts include: • 11 Best Photos of 2011 • My Adventurous Travels—From A to Z

During the U.S. presidential campaign, many IRA-purchased advertisements explicitly supported or opposed a presidential candidate or promoted U.S. rallies organized by the IRA (discussed below). As early as March 2016, the IRA purchased advertisements that overtly opposed the Clinton Campaign. For example, on March 18, 2016, the IRA purchased an advertisement depicting candidate Clinton and a caption that read in part, "If one day God lets this liar enter the White House as a president - that day would be a real national tragedy."57 Similarly, on April 6, 2016, the IRA purchased advertisements for its account "Black Matters" calling for a "flashmob" of U.S. persons to "take a photo with #HillaryClintonForPrison2016 or #nohillary2016."58 IRA-purchased advertisements featuring Clinton were, with very few exceptions, negative.59

Ezra Callahan: But it gets added and eventually the immediate reaction subsides and people realize that the News Feed is exactly what they wanted, this feature is exactly right, this just made Facebook a thousand times more useful. Katie Geminder: Like Photos, News Feed was just—boom!—a major change in the product and one of those sea changes that just leveled it up. Jeff Rothschild: Our usage just skyrocketed on the launch of News Feed. About the same time we also opened the site up to people who didn’t have a .edu address. Ezra Callahan: Once it opens to the public, it’s becoming clear that Facebook is on its way to becoming the directory of all the people in the world. Jeff Rothschild: Those two things together—that was the inflection point where Facebook became a massively used product. Prior to that we were a niche product for high school and college students.

Meanwhile, the net celebrates kids whose antics are the most sensationalist and, as a result, often reckless and self-destructive. An entire genre of YouTube video known as Epic Fail features amateur footage of wipeouts and other, well, epic failures. "FAIL Blog," part of The Daily What media empire, solicits fail videos from users and features both extreme sports stunts gone awry along with more random humiliations—like the guy who tried to shoplift an electric guitar by shoving it down his pants. Extreme sports clips are competing on the same sensationalist scale and result in popular classics such as "tire off the roof nut shot" and "insane bike crash into sign." Daring quickly overtakes what used to be skill. In "planking" photos and videos, participants seek to stay frozen in a horizontal plank position as they balance on a flagpole, over a cliff, or on top of a sleeping tiger. For "choking" videos, young people strangle one another to the point of collapse and, sometimes, death.

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For You is one of the most important books ever to trace the career of Bruce Springsteen. Compiled by Lawrence Kirsch, the book features the words and photos of Springsteen fans from all over the world. The majority of the photos have never been published before, and are nothing short of amazing. Tom Cunningham, The Bruce Brunch, 105.7 The Hawk

The billions of texts, tweets, photos, videos, and other postings tsunami-ing in all directions in response to the general panic featured some helpful information, the way in negotiating a nearly impenetrable rain forest you might every so often come across an edible piece of fruit. The good news was that the internet democratized and facilitated the sharing of information, and that was the bad news, as well....On the one hand, useful information might have been pouring in from everywhere; on the other, you had to stir through the stew of journalism and entertainment and horseshit and noise to find it. And anything was probably more comforting than the official story, which seemed perpetually to be 'We're working on it,' and with so many more appealing options out there reality was being abandoned the way you might walk away from farmland that had lost its water source.

Apple introduces CarPlay for iPhone use in vehicles The CarPlay technology will be available in vehicles as early as this year. Photo: Bloomberg By Tom Lavell | 209 words Frankfurt: Apple Inc. on Monday said their new CarPlay technology will enable drivers use iPhone with voice commands or steering-wheel buttons, and will be available in vehicles as early as this year. Fiat SpA's Ferrari supercar division, Daimler AG's Mercedes-Benz luxury unit and Volvo Car Corp. will show customers the CarPlay system this week, with other auto producers introducing it later, Cupertino, California-based Apple said in a statement. CarPlay will be available as an update to the iOS 7 mobile software on iPhones, and works with the Siri voice-recognition feature. In-vehicle technology is the top selling point for 39% of car buyers, more than twice the 14% who cited traditional performance measures such as power and speed as their first consideration, consulting company Accenture Plc said in a study published in December. The US senate commerce committee chairman Jay Rockefeller, a West Virginia Democrat, vowed in February to pursue rules for in-vehicle use of mobile phones and Internet-linked entertainment systems unless carmakers and suppliers do more to limit disruptions to drivers' focus. "CarPlay lets drivers use their iPhone in the car with minimized distraction," Greg Joswiak, Apple's marketing vice president for the mobile device, said in Monday's statement, released in advance of the technology's debut at the Geneva International Motor Show this week. Bloomberg

And he didn’t rest on his laurels once he reached the summit; he later made another photo, Autofellatio6.jpg, that now graces the page and actually looks good enough to be included in a high school science textbook, if, you know, high school science textbooks featured images of men with their penises in their mouths.

On a visit to New York City, Robert Scoble posted on Highlight that he was going to Bloomingdale’s to buy a certain brand of jeans. As he walked through the main entrance, a sales representative knew he was headed her way because she had seen his Highlight post. She recognized him by his user ID photo. Through Highlight’s messaging feature she escorted Scoble to the jeans he had mentioned.

She slit the envelope with the knife and pulled out the paper. She read it quickly, with trained eyes, and she dropped it into the garbage. The chardonnay was shitty gas station wine called Hodnapp’s Harvest. Though the labels on the backs of trendier and more whimsical wines might say something like PAIRS WELL WITH DELICATE GRILLED FISH AND SPRING RISOTTO—none of the labels ever mentioned complementing string cheese, she noted—this one featured a photo of what was apparently the Hodnapp family crest. She squinted to read the calligraphic inscription below the surname: THIS WINE PAIRS WELL WITH FRIENDSHIP. She poured a third of the bottle into a coffee mug and went by herself onto the balcony to mourn her future.