dr_scientist

It will remain a mystery

I love this, but is anyone else having trouble with the css/text? Chrome seems to dim the images, but the white text is unreadable on all the images for firefox. Doesn't work on Safari at all.

I remember learning about this as a kid from, of all places, a 1976 detective show called City of Angels (starring Wayne Rogers). Ten-year-old me thought it was so cool they would even broach such a topic on TV. As ways to become radicalised go ...

This Video (French) says it's a thousand years old, but that seems not to be the case, more like like 4-500 years.

I think the NYT is mistaken, as here's an engraving of «jeu de paume» from the 16th C

According to the very long and exhaustive wiki

"The term real was first used by journalists in the early 20th century as a retronym to distinguish the ancient game from modern lawn tennis", and, is it happens, 'It is also known as court tennis in the United States, royal tennis in England and Australia, and courte-paume in France."

I think the kings were pissed when they started playing tennis outside. "That's not real tennis", they probably said.

https://archive.is/rEQMr

I confess, I had no idea what the film was about when I saw it in the theatre, but something about it compelled me to watch it again. And my controversial take is that the film's story is really quite clear. Even though, again, I no idea what it was about when I first saw it.

It's about the effects of art. The stories are in no way disconnected, but all connected by a story, a work, a piece of music, etc. And each one carries forward, often in ways the author(s), inpirations, etc. had no way of understanding.

I'm a writer of very little renown, but I use the film to keep going. Because even if you're not an artist, your life will have an effect in way you can't know. And I love that idea.

Also, it was a crime that this film did not get any nominations for editing. It is, purely from a technical point of view, a masterclass. The beats of six separate stories cut together according to their lows and highs, and cutting away when you really want to know what's happening. If you don't like the film, that's entirely reasonable. But how it was put together is something to behold.

I think that's a still from Green Room, a very good and very disturbing film with none other than Sir Patrick Stewart as a Nazi/replacement theory Svengali-type character. The joke being the band in the movie is booked unaware into a straight up nazi punk club, and end up singing that song. Things develop from there. I hope I got that right, but that's my memory.

I didn't know he played in a real band. Cool beans!

The other sources are

https://www.psychiatrictimes.com/view/star-d-dethroned

Which cites the BMJ

https://pubmed.ncbi.nlm.nih.gov/25886544/ https://pubmed.ncbi.nlm.nih.gov/37491091/

I thought this article explained the science better than the Psychiatric Times, so I used it. Lesson learned.

I agree, the source is poor. But I thought the summary was better than the one offered here:

https://www.psychiatrictimes.com/view/star-d-dethroned

Bruce E. Levine is just some guy. Not great. But the sources he cites made the case for me:

https://pubmed.ncbi.nlm.nih.gov/37491091/ https://pubmed.ncbi.nlm.nih.gov/25886544/

I myself am and have been on psychotropics for years, don't know what I would do without them. Further, as noted, the the STAR*D approach drops from 67% to 35%, which means they do work for some. But reporting that high a rate when the numbers don't support it is information patients need. The original study seems very problematic with patients that dropped out assigned success rates, and the lack of a control group. I think the information is relevant.

Dear Nitwit,

A reduced faith in science might, hear me out here, ••might•• have something to do with science, ya know, killing the planet and what not. You wanna get some faith back? Maybe apply these new technologies to human happiness, or even, who knows human survival.

One more thing, nimrod. The real risk averse culture? It ain't your unwashed "zero-sum thinking Millennials" No, it's your hyper capitalist who's rigged the system to the point where taking financial risk is erased by government bailouts. They're the ones who want to eliminate risk.

And it's that, plus their increased control of what is and is not researched in practised science that leads to our dismay. See above: "planet dying" Imagine something like pencillin, developed entirely within an academic risky environment, getting made today.

There's risk in true critical thinking, instead of lazy "Kids Today" hand-wringing. So, in future, take a fucking risk.

Had some trouble with the Guitar World site, so I'm posting the full text here. Big fan!

https://archive.is/Brk2X

Rockabilly king Brian Setzer talks about his lifelong love of Gretsch guitars and how his beloved Gretsch 6120 was usurped by a ‘Frankenstein’ Duo Jet on his latest album, The Devil Always Collects.

How did you first become a Gretsch guy, and what keeps you one today?

“Those things still bring me the most fun out of anything. Out of old motorcycles, old cars – it’s Gretsch guitars. I bought one [his 1959 orange 6120] in the late 1970s because I wanted to look like Eddie Cochran. I didn’t even know if they’d sound good.

“Back then, no-one knew who Eddie Cochran was, so I found it in the local paper for 100 bucks. It’s such a special sound. People who play solidbody guitars don’t have this happen, but the sound comes out of the amplifier, it goes back through the guitar, so you can control how much sustain you want, how much feedback you want, and the whole thing shakes. You feel it. It’s the best thing in the world, for me.”

We hear that you used a Duo Jet on your latest album, The Devil Always Collects?

“I think the first song I wrote for [the album] was Rock Boys Rock. I wasn’t getting the sound I wanted out of the 6120; it just was not matching how frantic the song had become.

“So I plugged in this Duo Jet I’ve got – it’s a Frankenstein: a ’57 [body], ’58 [neck] Duo Jet – and I just turned it up a little bit louder than I normally would. Jason [Orris, studio engineer] and I looked at each other and were like, ‘Oh gosh, that’s it!’

“Little things like that inspire you to keep writing, to keep moving in a certain direction. On the last record it was this old reverb unit that got me to write songs. On this record it was the Duo Jet.”

What’s the Duo Jet’s story?

“I’ve had it for close to my entire life. I think it came from Canada originally, and it’s been worked on a lot; I’m not sure how much of a Duo Jet is really left in that guitar, really.

“I used it on my first Rockabilly Riot album [2005], when I did all the Sun [Records] sessions covers, and it sounded great ’cos I wanted the old single-coil sound. But when I cranked it up a little more than I should this time, it became that kind of flange-monster thing.

“What a great-sounding guitar! I don’t know what it is about it. It’s almost Telecaster-like but not as mellow. It’s got more twang to it. So I used it on most of the record, and this is my first record where I didn’t play the 6120 that much."

The Devil Always Collects is available now on Surfdog Records.