lwsimmons.org

Monday, September 5, 2005

Brazil — The Post Office and Vote Buying parliamentary commissions of investigation unanimously approved on Thursday (1) their first joint preliminary report of activities. The text was prepared by their redactors, Osmar Serraglio (PMDB) and Ibrahim Abi-Ackel (PP), from Post Office and Vote Buying commissions respectively.

The deputies cited in the report are: Carlos Rodrigues (PL–RJ), José Janene (PP-PR), Pedro Correia (PP-PE), Pedro Henry (PP-MS), Sandro Mabel (PL-GO), João Magno (PT–MG), João Paulo Cunha (PT-SP), José Borba (PMDB-PR), Josias Gomes da Silva (PT-BA), Paulo Rocha (PT-BA), Professor Luizinho (PT-SP), Romeu Queiroz (PTB-MG), Vadão Gomes (PP-SP), Vanderval Santos (PL-SP), José Mentor (PT-SP), Roberto Brant (PFL-MG), José Dirceu (PT-SP) and Roberto Jefferson (PTB-RJ).

The report indicts 18 Brazilian deputies and the former deputy Valdemar Costa Neto [who resigned on August 1]. They are accused of illegal campaign finance activities, of placing cronies in strategic positions in government enterprises and getting kickbacks from them, and of receiving cash payments in exchange for voting in line with the government in the Brazilian Congress.

The redactors called the allegation made by some parliamentarians that the resources were used to settle debts with electoral campaigns a “lame excuse”. According to them it is “perfectly plausible” that the loans taken by the businessman Marcos Valerio at the Banco Rural and the BMG for the ruling Workers’ Party (PT) were false and created to make the illegal funds seem legal.

In regards to the denunciations done by deputy Roberto Jefferson (PTB) the report says:

• Everything which he said that could be investigated showed to be true, including confessions against himself .
• Everything that must be compared to other testimonies showed a great degree of truth. As a matter of fact, all of who, hurriedly, questioned him, saw their defenses collapse, before the successive discoveries.

According to the report, the businessman Marcos Valério is a not reliable person because of his contraditory testmonies.

The report says that several documents were identified and reviewed proving that large sums of money were withdrawn from agencies of the Rural Bank, in Brasilia and Belo Horizonte, as well as from bank accounts of the enterprises SMPB and DNA Propaganda. According to the documents the beneficiaries were federal deputies who received the money in person or through relatives, advisers, or persons nominated by Marcos Valério.

The report affirms that it is possible that some payments were made on a monthly basis, and others more or less frequently. Nevertheless, according to the report the periodicity of the payments is the less important fact.

Friday, May 18, 2007

Microsoft have today paid $6 billion (£3 billion) for the online marketing firm Aquantive. The takeover will pave the way for Microsoft to expand into the $40 billion online advertising market currently dominated by Google and Yahoo!.

Kevin Johnson, the head of Microsoft’s platforms and services division, said “This deal takes our advertising business to a new level” and follows the recent acquisitions by Google and Yahoo who bought DoubleClick for $3.1 billion, and the remaining 80% of Right Media Exchange for $680 million respectively.

Aquantive will remain at its base in Seattle with its current staff of around 2.600, but will work as part of Microsoft’s online operations.

The deal is expected to be completed by early 2008, subject to regulation.

• “Microsoft buys ad-firm for 6 billion” — Bangkok Post, May 18, 2007
• “Microsoft buys ad firm for $6bn” — BBC News Online, May 18, 2007

Monday, July 16, 2007

In two separate incidents, men posing as members of the New York Police Department (NYPD), have invaded homes in the New York City area. In both cases, they robbed the residents, but in the most recent, they sexually assaulted a woman.

On Saturday, July 14, at 1:09 a.m. EDT (UTC-4), four men knocked on the door of a Yonkers, New York, apartment. The 33-year-old male that lives there opened the door, as the men outside wore NYPD hats and t-shirts, and had badges hanging around their necks.

The men promptly ordered the male victim to the floor. “When this guy pushed me, he had a gun in my face,” the victim said. “I could see the other guy. He motioned to the others, come on, let’s go, let’s go.” The intruders shouted “Where are the drugs?” as they ransacked the apartment.

Two of the men entered the bedroom and sexually assaulted the 30-year-old female. The couple has a five-year-old child, who was sleeping in another bedroom. “The more I resisted, the more he began to hit me,” the woman said. She said she was sexually assaulted by two of the men while her boyfriend was bound and guarded.

Police said the men then left with a cell phone, a laptop computer, a diamond ring and a gold chain. Police do not believe that they were real officers. As of this afternoon, no arrests have been made.

On Thursday, July 5, shortly after six p.m. in the East New York neighborhood of Brooklyn five men knocked on the door claiming to be “the police.” When the victims opened the door, they pushed their way in demanding the family give them drugs and money.

When police responded to a call reporting a robbery, they found the family, husband, wife and their daughter, tied up. The man suffered a head injury when he was pistol-whipped. Police say the robbers got away with a camera, jewelry, and US$5,000 in currency.

Neighbors told NY1 that they were stunned. “Frightened. Make you think twice before you want to open the door, you know,” said one of the neighbors. “Now you be asking for all this ID and stuff and even still you’re going to wonder, are they for real? So it’s kind of scary.”

There is no word about whether the two cases are connected. Yonkers is on the border of New York City, but is outside the jurisdiction of the NYPD.

Friday, June 23, 2006

Matt Hanson aims to raise £1 million to fund the production of a feature-length film which would be distributed freely via the Internet under a Creative Commons licence, all funded through 50,000 people each donating £25 to the project, which he’s called ‘A Swarm of Angels‘.

No stranger to filmmaking, Matt has produced numerous digital short films, a series of books on digital filmmaking and set up the digital film festival onedotzero, now in its tenth year. He wants to finally make a feature length film, and decided that it was better to turn to the Internet for help and funding rather than plod through the usual ‘development hell‘.

“I wanted to put into practice what I’ve been preaching as a film futurist for ten years, and the technology and Internet infrastructure has just really caught up with that vision now for me to put it into practice.”

The process is inspired by the ‘web 2.0‘ movement, using social and collaborative communities on the Internet. Matt doesn’t see the funding as coming from donations, but as people paying a subscription to become part of a ‘Swarm’. “Rather than the ‘many producer’ model, this is more of an ^[sic] ‘smart consumer’ model … members can help implement and bring their expertise into play, and so become more actively involved in the production.”

The project hopes to use professional actors and crew, but use qualified members from the swarm as much as possible. The cast and the crew, including any volunteers that get chosen, would be paid for their work on the film, with Matt suggesting that this is “a great way for people to get into the industry”.

Those members not directly involved in making the film can still participate in the process by discussing ideas on a messageboard, and having a vote on certain crucial decisions such as which script gets chosen for production. Asked how he would balance his own creative direction with input from members, Matt said “my vision will lead the project forward and define the parameters, but the Swarm can influence that, and indeed offer improvements or insights I might not think of alone”.

“Remember filmmaking is always a team effort – whether you are Martin Scorsese, Stanley Kubrick or Jean Luc Godard, you promote people within the project that will complement and bring something extra to the vision of the film. Give it more life. With the Swarm we are making that process more democratic, and giving a wider range of people an opportunity to shine and have creative input.”

Members are promised a collector’s edition DVD of the end product and exclusive merchandise, but the main distribution of the film will be via the Internet, using ‘BitTorrent‘ and peer-to-peer networks. “Unlike many other filmmakers, I’m not wedded to cinema projection as the ‘be all and end all’ – I’m much more excited about people viewing remixed versions on their video iPods,” explains Matt.

The ‘remixing’ of the film will be possible thanks to it being distributed under a Creative Commons licence. Matt suggests that the ‘younger generation’ is more used to being involved with and interacting with entertainment, and points to remixes of the Star Wars films (eg ‘The Phantom Edit‘) as an example of these ‘mashups’. “At the end of the project I would love to have an event that showcased five wildly different versions of the film, different visions from people other than my definitive initial edit,” he suggests. The licence will be for non-commercial use only, however, and so commercial TV stations would still have to pay in order to screen the film.

The project is partly inspired by the success of ‘The Million Dollar Homepage‘, in which British student Alex Tew aimed to raise a million dollars to fund his university education, simply by selling advertising space on a single web page. The publicity surrounding the idea, coupled with the ‘viral’ effect of Internet users passing the page on, meant that he eventually managed to make himself the million dollars.

The success of these projects partly seems to depend on them being interesting and original enough to attract enough attention, and it’s often difficult to see how they could be repeated. Copy-cat versions of the million dollar homepage have so far failed to hugely take off. When asked about this idea, Matt responded “I already expect people to copy the model we are inventing with A Swarm of Angels – it’s a perfect way to create cult media, where the director gets more creative control and organically funds a project, and the fans of the project get more involvement within it. If the market gets too crowded with these projects though, then they’ll have to be packaged differently to stand out. But that’s what traditional film and media projects need to do anyway.”

Over 600 members have signed up to the ‘swarm’ so far, which Matt comments is already an early success, but 50,000 members in total will be needed in order to fully fund the £1 million budget. Matt suggests that getting to the next stage, of reaching 1,000 members, followed by the phase of getting 5,000 members, will be the hardest part, as after that the film will be more ‘tangible’. He expects to raise the full budget, but comments that if the fundraising stalls, “options will be presented by advisors and The Swarm, and based on some kind of consensus we’ll come up with the best option for moving forward.”

Traditionally, independent films are funded either through persuading wealthy individuals to invest, who sometimes are sometimes given ‘Executive Producer‘ credits, or through organisations like the UK Film Council, who award funds from the National Lottery. A tax credit for producers making small films in the UK was announced by the government in 2005, in a bid to give a boost to the UK independent film industry.

Matt says that the film will be “a thriller with soft science fiction elements”, which he says will suit his target audience. “But it will have an indie edginess to it, and be far more visually inventive than you would get with a ‘normal’ British independent feature.” Contributors to the project include artists The Kleptones, who will help with the soundtrack, comic book writer Warren Ellis and documentary filmmaker Grant Gee.

The Swarm of Angels project is online at aswarmofangels.com and costs £25 as an individual to become a member.

Friday, March 13, 2009

A team of archaeologists excavating an Ancient Egyptian tomb have discovered golden jewelry in a recently-discovered lower chamber at the Valley of the Kings burial site in Luxor, Egypt.

Two golden rings and five golden earrings were found in the tomb of Djehuty, an 18th-dynasty official of Queen Hatshepsut, and were probably the property of Djehuty or his family.

The discovery was announced by Farouk Hosni, Egypt’s current Minister of Culture.

Djehuty was overseer of the treasury and overseer of works for the Queen. Hatshepsut reigned approximately 1479–1458 BCE. Djehuty was responsible for managing the huge amounts of precious goods brought in from Egypt’s military expedition to Punt in the Horn of Africa and the vast building projects of Hatshepsut which have made the female pharaoh one of the most-remembered of any from ancient Egypt.

Djehuty died after Hatshepsut did, sometime during the reign of Thutmosis III. Both Hatshepsut’s and Thutmosis’s names are recorded on the tomb. In a fashion typical of ancient Egyptian rivalries, Hatshepsut’s name was partly obscured on the monument over the tomb sometime after the queen’s death.

The team, led by José Manuel Galán of the National Research Center (Consejo Superior de Investigaciones Científicas, CSIC), in Madrid, Spain, had been excavating the tomb, designated TT11 and located in the necropolis of Dra’ Abu el-Naga’, since 2002. While much of Djehuty’s funerary equipment was lost to fire in antiquity, the lower chamber of his tomb was concealed at the end of a three-meter shaft and discovered at the end of 2008.

A superficial description of the tomb itself was recorded almost two hundred years ago by 19th-century French Egyptologist Jean-François Champollion, rubble blocking the entrance hindered excavation until the 21st century. In that time, emphasis in Egyptology has changed from the cataloging of treasures to the investigation of ancient culture, life and religion.

Since excavation began, Djehuty’s tomb has yielded a number of surprises. It was discovered that the tomb was re-used repeatedly up to and during the Greco-Roman period. There is an unusual face-on depiction of pharaoh Thutmosis III hunting ducks, and the mummy of a young, bejewelled, as-yet unidentified woman.

In 2007, 44 preserved bunches of flowers thought to be from Djehuty’s funeral were found in the site. In their 8th season of excavation, which ended on February 22, 2009, the team also found considerable evidence that below Djehuty’s tomb is a network of burial sites from the 11th dynasty, four thousand years old.

The lower chamber also displays passages from the Egyptian funerary text the Book of the Dead on its walls and a colorful mural of the goddess Nut, an embodiment of the heavens, on the ceiling. The names of Djehuty and his parents were also intact in the second chamber; the names were defaced in the previously-known first chamber of the tomb, which had also been looted.

According to a press release from Dr. Zahi Hawass, Secretary General of Egypt’s Supreme Council of Antiquities, Djehuty’s tomb is only the fifth known decorated burial chamber of the 18th dynasty. An additional unusual feature of the tomb is that its upper chamber is decorated in relief, rather than simply paint. When the excavation is completed, Dr Galán’s team plans to open the site to the public as the carved stoneworks will not be destroyed by tourists’ activities as paint would.

The identification of Djehuty is a complicated one, as a number of officials of the 18th dynasty bore the name, including a general and several governors. The name itself is an alternate transliteration of the name of the Egyptian god usually written in English as Thoth.

Monday, October 8, 2007

When a fan connects with a band, it’s often during moments like a drive down a highway at night reflecting on some aspect of his or her life; sitting at home after a fight with a girlfriend; singing in the shower; or celebrating at a party with her friends. Music becomes a soundtrack to an individual’s life, and a connection with the musician forms when the listener is able to peg a perfect moment or feeling to a song. Boston-based mega-member rock group Bang Camaro‘s fan base claims a different level of interaction: they often have learned to play their music before they ever had a moment associated with it. Bang Camaro found fame on the video game Guitar Hero II, where an aspiring rock god uses a guitar-shaped peripheral to play rock music as notes scroll towards him on the screen.

Wikinews reporter David Shankbone journeyed to the Bowery Ballroom to talk to the two founding members of Bang Camaro, Alex Necochea and Bryn Bennett. But when MTV.com shows up at the same time as Wikinews to do an interview, the band must split up. Below is our conversation with Necochea about touring, influence, politics, throwing his corpse out of a plane and flatulent women.

David Shankbone: How’s the tour going?

Alex Necochea: The tours is going great! We just played in Poughkeepsie last night with the OCC house band.

DS: Poughkeepsie, huh?

AN: Yeah! [Laughs] Poughkeepsie, it’s kind of a dark town. Not much of a built-in crowd there.

DS: What kind of crowd is there?

AN: From what I could tell, we played for a lot of Guitar Hero fans and people who heard about us through friends of friends, or came across us on MySpace. That sort of thing. But for the most part a lot of the kids we meet are anywhere between…well, I guess at a club like that they have to be over 18, but usually they are just much younger kids who are video game fans, who have heard about us through Guitar Hero II.

DS: What’s that like to have a fan base that comes from primarily video games? Have you noticed a difference between being known as a local band playing in your city and being known through video games? How would you compare the audience?

AN: It’s different. In our hometown it started off as just a big word of mouth thing. We had twenty guys in the band, so everybody had friends-of-friends. We started a groundswell that way. But when we get out of town, not in New York so much, but when we go to Chicago and Milwaukee and places like that they generally tend to be much younger people. It’s a really big thrill for Bryn and I in that we are meeting kids who are just like us: young video game fans, aspiring musicians, usually males who picked up guitars. They come to us and say, ‘Nobody plays guitar anymore like you guys do!’ or ‘My parents used to listen to music like that!’ It’s just a big thrill for us to meet young kids like that who remind us of ourselves when we were kids.

DS: How does it feel to be looked-up to by the kids, by America’s future?

AN: [Laughs] It’s terrifying! [Laughs]

DS: Do you see parents at the show?

AN: Oh, yeah, oh yeah. Parents with their kids—

DS: That must reduce the crotch grabbing.

AN: [Laughs] Yeah, a little bit of macho posturing. I tell you man, it’s a really big thrill, just to go out and play in towns we’ve never been to. Kids come out and they know all the songs. We’ve had situations where we’ve played New York and girls are in the front row singing along to our guitar solos. Like, wow…we’re on stage playing and we can hear them singing back at us. Something else Bryn and I have noticed is at larger festival shows when we get to the end of our shows we play Push Push Lady Lightning, the kids would just light up and start air guitaring! But not actually playing air guitar, but playing air guitar hero–like, they knew where all the notes were!

DS: Which is a lot different for audiences of many bands.

AN: Absolutely! I can’t imagine other bands having the same experience, because we come from such a unique perspective that a large part of our music is driven by the instrumentals, and that sort of thing.

DS: Your fans are so engaged with your music, far more than most bands have. Most bands they have fans who feel their music speaks to them, but your fans can say, ‘I learned to play guitar on your shit and not on Eleanor Rigby!’

AN: It’s an honor. It’s still unbelievable to me. I had a message from a friend of mine who was at Guitar Center and he heard one of the kids cranking out one of our songs when he was trying out the guitar. To me, it’s like we made it.

DS: At this point of your career, you’re not playing stadiums, but you’re also not playing Otto’s Tiki Lounge on a Tuesday night. When you reflect upon it, what do you think about?

AN: In the past two years, since Bryn and I started this project, we’ve both been playing in bands locally in Boston for years. We had some mixed success, we played large venues in and around Boston. We got to the point where we said fuck it, we just want to have some fun and we’d laugh a lot going over old Ozzy Osbourne stuff we listened to as kids, just giggle about it. Bang Camaro started that way, something for us to do and invite our friends to come sing on it. Now, just two years later, it’s amazing what happens when you stop trying. It’s something not contrived or born of any desire to reach an audience. We just did it for fun, and that spoke to people more than anything else we worked on.

DS: Do you have other areas of your life where you’ve been able to apply that?

AN: [Laughs] You mean as an ethos? Don’t try? [Laughs] You know, not really. I have found the greatest success in the things I have put most of my effort into. This band has been a complete unique experience in that respect, at least in terms of trying to forge a ‘career in music.’ Bryn and I had gotten to the point where we thought maybe this wasn’t the way to go. Bryn was going to go back to his career as a video game programmer and I was just going to find something else to do. So not really, I don’t really apply that in any other portion of my life.

DS: What are some dream projects you’d like to work on?

AN: As a musician, obviously for me it would be to meet and work with some heroes of mine since I was a kid. Like Mutt Lang; he always made my favorite records. At the same time, it has also been a dream of mine to meet people like Mark Linkous of Sparklehorse. Those guys made honest sort of rock n’ roll, for lack of a better comparison, the way people like John Lennon or Bob Dylan would. To me those are the artists of my generation. It would be my dream one just to meet those guys and two just to work with them on some level. I’d also be lying to say that it would just be my dream to take this project with twenty of my best friends and take it as far as we can take it. So far in my life it’s been the most rewarding thing.

DS: In the creative process it’s so difficult to be original today. Everything has been done. Do you ever let that trip you up, the Simpsons Did It problem?

AN: No, not really. I found I would end up falling into that cycle playing in indie rock bands, just trying to come up with the next thing, like Radiohead they stopped using guitars and things like that. Trying to kick the ball forward a little bit instead of kicking it side to side. With this band we don’t get hung up on that. We originally just started it as a celebration of the things we loved when we were kids. We’re not out here trying to reinvent the wheel. We’re fortunate in that when we were putting the project together we wanted that big vocal sound. What set us apart was how we went about doing that. We just invited all of our friends because we didn’t want to multi track everything ourselves. Soon after we had to figure out how to pull it off live, and people would approach and say ‘we heard you have this crazy project with all these people.’ The project grew into the live monster it is out of necessity. We’re not rich people, we don’t have refrigerators and the big tour bus. Speaking of dreams, maybe one day we’ll have a tour bus. For now, we travel in two very smelly vans.

DS: If you could choose your own death, how would you die?

AN: [Laughs] I would want to steal what I heard a mutual friend of ours said. He said when he died–it’s not how he died, but this is what I heard–he said when he’s dead, he wants his corpse to be dressed up like Superman and thrown out of an airplane. I thought that would be fitting. But I’m not ready to think about death, not just yet.

DS: You guys have been described as Metal and Glam rock. What would you describe your sound as?

AN: I would call us anthem rock. We’re really not heavy metal. I think our focus is more on writing great singles, as best as we can make them. Pop music. That’s just something Bryn and I grew up on. We’re big fans of melody and big driving hooks, that sort of thing.

DS: Would you say anthem rock more in the Mötley Crüe vane or more in the T. Rex vane?

AN: I would say half and half. Our influences don’t just stop with hair metal and things like that. We draw on things like Thin Lizzy, Boston, bands like that. Not necessarily virtuosic sort of musicianship, but things that are put together. We like to spend the time when we are writing our songs that we are taking all the extraneous crap out of it. We just want to make good, hook-drive pop music.

DS: Does the war in Iraq affect you artistically at all?

AN: [Laughs] No, not at all. No, you could say I’m just like everybody else. I read the paper and blogs, and I’m just as horrified as everybody else. I’m definitely not a fan of this war.

DS: If you had to fight in Iraq or Afghanistan, where would you fight?

AN: Oh, the fight was definitely in Afghanistan. Iraq was a much different animal.

DS: Are you more inspired by things in nature or things that are man made?

AN: I would probably have to go with nature. I’m a student of science. I have a degree in environmental geology. When I was 19/20 years old I went through all the regular existential questions people that age go through: why am I here and my place in the universe, that sort of thing.

DS: Did you answer any of them?

AN: Oh, God! I play rock guitar in a twenty man band!

DS: That’s important for a lot of people – you see your audience. You’re giving a lot of inspiration to a lot of people. You don’t know who you might be inspiring to pursue music.

AN: [Laughs] Oh, kids, don’t be like me! I would definitely go with nature over man made.

DS: What’s your favorite curse word?

AN: Fuck.

DS: What’s your favorite euphemism for breasts?

AN: Big guns.

DS: Have you used that recently?

AN: Actually, I think I did use that in the last week, and no comment.

DS: I read that you named the band after fast women and fast cars.

AN: [Laughs] Who told you that? No, Bang Camaro were two words out of the English language that were the two sexiest words we could think of. We put them together and they roll off the tongue. Bang Camaro. It says a lot more than it means.

DS: What sort of qualities do you look for in a woman?

AN: I need a girl who is going to make me laugh. I need a woman who is smarter than I am. A woman who will always keep me guessing. Absolutely. Calling me out for my own jerky bullshit. I like a girl who is fiercely independent, knows what she wants, and doesn’t need me.

DS: Hillary Clinton or Barack Obama?

AN: Oh, man, I’m going to get in a lot of trouble for saying Obama. I would probably go with Obama. There’s just something in his rhetoric and his oratory that is a lot more inspiring than Hillary. Hillary, to me, represents not much of a changing of the guard.

DS: What would be the greatest of misfortunes to befall you?

AN: [Chuckles] Oh, if I were to die alone. No, probably one of my greatest fears is injuring or maiming any of my appendages, to be honest.

DS: Do you have any special things you do to make sure you don’t injure or lose an appendage?

AN: [Chuckles] I don’t keep my hands in my pockets when I am running down stairs.

DS: That’s a conscious choice?

AN: Yes, that’s a conscious choice.

DS: What if you are just walking down stairs?

AN: [Chuckles] You can’t realign the stars, man. Shit will happen, shit will happen.

DS: What possession do you treasure most?

AN: That’s a good question. Probably my cat. I love my cat more than anything.

DS: What’s your cat’s name?

AN: Sadie.

DS: Like Sexy Sadie?

AN: Yeah, like Sexy Sadie. That’s exactly what I named her after. Big John Lennon fan, so I couldn’t resist.

DS: What trait do you deplore most in other people?

AN: I’m a lover, not a fighter. Jealousy, greed. But I try to look for the best in everybody. Who knows.

DS: What do you think are the greatest threats to humanity?

AN: Humanity itself. You can typically read anywhere that humanity is a virus, a plague, on Mother Earth. I really think the greatest threat to humanity is not a meteor or comet hurtling toward the planet, it’s us. We’ll be our own undoing. Bad politics, the spread of…oh, man, I could get in trouble…

DS: Who would you get in trouble with?

AN: No, I don’t know who I could get in trouble with. But I definitely think that capitalism is something that having gone unchecked for so long isn’t doing right in delivering civil freedom. It’s not delivering on its promises. Then again, I play in a rock band and people come pay to see me. I understand it works on both levels.

DS: What would be a bigger turn-off in bed: a woman who spoke in a baby voice, or someone who was overly flatulent?

AN: Oh God! I’d go with the baby talk, man.

DS: You’d prefer the baby talk?

AN: No, I would go with the flatulent woman. At least she’s real.

DS: Have you ever been faced with either scenario?

AN: No, I don’t think women should be flatulent.

DS: At all? Not even if she lets out a little giggle afterwards?

AN: Yeah, well, so be it.

DS: What if she was really flatulent?

AN: Like, extremely flatulent? I’d go more for the flatulence. Baby talk…that’s a real boner killer. Sorry, man.

DS: And you’ve never had a baby talker?

AN: No, not since high school.

DS: In high school?

AN: Oh, yeah. She had to go.

DS: What if she was Dutch oven flatulent?

AN: Is it really one or the other? Can I just go gay?

DS: You can always go gay. It’s the new millennium.

AN: Yeah, well, I’d probably end up with a baby-talking overly flatulent man, I’m sure.

Friday, March 2, 2007

Sirius CEO Mel Karmazin appeared before a newly formed Antitrust Task Force, a sub-committee of the House Judiciary Committee, on Wednesday last week in Washington, D.C. to defend the proposed U.S. merger between XM and Sirius satellite radio services.

The hearing, carried live on C-SPAN, was attended by representatives from various competing broadcast companies. The representatives challenged the merger deal, and some speakers were openly hostile to Karmazin and to satellite radio in general, while other speakers were more civil.

Several times during the debate, the discussion centered on the failed merger deal between the two satellite television networks DirecTV and Echostar. The comparison between this proposed radio merger and the failed television merger was settled to some extent with an understanding that nearly all television viewers now use either cable or satellite to view available programming. Televised programming content is now delivered mainly in the form of a subscription, rather than airwave transmissions.

Unlike television programming, most radio listeners use over the air receivers to listen to free programming content supported advertisers.

“We come to this hearing with an open mind, but we recognize that the companies have the obligation to convince the Congress, the regulators, and most importantly, the American People that this combination will improve the competitive playing field and benefit consumers,” said John Conyers, the sub-committee chairman. To determine the legality of this merger, Congress first needs to decide whether a combined XM and Sirius would be a monopoly, as the only satellite radio provider in the United States, or whether the new company will actually be in competition with other forms of radio-like entertainment, according to Conyers. The hearing focused on alternatives such as Internet radio, terrestrial radio, portable audio devices, and emerging services, such as cell phone services and WiMax.