From 6 a.m. to 6 p.m. on Thursday, VH1, MTV and CMT will celebrate superstars and emerging artists.
By Gil Kaufman, with reporting by Rob Markman
Source: http://www.mtv.com/news/articles/1710028/ti-independent-artist.jhtml
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By now, we US citizens are all very very aware that our metadata is being harvested
Immersion functions with Gmail (and Gmail only) to pull all your historical data about who you're sending emails to, who you are getting them from, who you are CC'ing, and when it all went down. MIT promises to not peek at the subject or the body of those emails while it's in there, and you can delete it all from MIT's servers at your leisure.
The result is a big, beautiful web showing who you talk to and when, just like the big boys have, and you might be surprised at exactly how much it betrays about your everyday life.
Unlike PRISM, Immersion is proving to be pretty popular, so it's somewhat overloaded at the moment. But if you leave your email, MIT will get back to you when it has a spare moment to snoop on you. In the meantime, you'll have to be content knowing someone is collecting all that data, even if you don't get to see it. [MIT via GigaOM]
Source: http://gizmodo.com/spy-on-your-own-email-to-see-exactly-what-the-nsa-has-o-656799897
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Looking to capture professional-quality video on the cheap? You've probably considered a DSLR, but for many users, an interchangeable-lens camera might not be the best pick. Camcorders and higher-end video rigs typically offer far more powerful autofocus capabilities, and while Digital SLR footage can look great, if you're not tweaking the lens manually, things might not go as smoothly as you'd hope. Canon's setting out to change that, with its brilliant new EOS 70D. On the surface, this 20.2-megapixel camera doesn't venture far from its 60D roots, but internally, it's an entirely different ballgame.
At the core of the 70D's modifications is what Canon's calling Dual Pixel CMOS AF. Essentially, the sensor includes twice the number of pixels in a (very successful) attempt to improve focusing. There are 40.3 million photodiodes on the sensor, and when they're all working together, "it's like 20 million people tracking the focus with both eyes," as Canon explains. The result is camcorder-like focusing for both stills and video, when you're shooting in live view mode. During our test with a pre-production sample, the device performed phenomenally, adjusting focus instantaneously when snapping stills, and quickly but gradually when recording video. Join us after the break for a closer look.
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'He's clearly having a moment,' says Vibe editor-in-chief Jermaine Hall about Skateboard P's spree of hits.
By Gil Kaufman with additional reporting by Rob Markman and Nadeska Alexis
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See Inside Tuberculosis seems to be evolving in unexpected ways that outsmart humans
Image: Daniel Chang
Today most people in the richer parts of the world think of tuberculosis, if they think of it at all, as a ghost of history. Throughout ancient times the tenacious bacterial infection consumed the bodies of untold millions, rich and poor, filling their lungs with bloody sputum. As TB spread in the centuries that followed, it continued to attack across economic and class lines, affecting both the famous and the obscure. Among its better-known victims: poet Manuel Bandeira, writers Emily and Anne Bront?, and sculptor Fr?d?ric-Auguste Bartholdi, who designed the Statue of Liberty. By the early 20th century humanity had begun fighting back with public health campaigns, improved living standards, and eventually antibiotics and a modestly effective vaccine. Although in 2011 TB sickened nearly nine million people, killing 1.4 million of them, mostly in the poorer regions of the globe, the mortality rate has nonetheless fallen by more than a third since 1990. Things are looking up?or so it may seem.
New genetic research, however, suggests that the bacterium responsible for TB could be poised to emerge stronger and more deadly than ever before?and not just because some strains have become resistant to treatment with the standard set of antibiotics. A small but increasingly influential group of investigators believes that the microbe, Mycobacterium tuberculosis, may have evolved along an unexpected and particularly dangerous path. The scientists have discovered that TB can be divided into seven families of genetically related strains, at least one of which is surprisingly virulent, prone to drug resistance and especially well suited to spreading disease in our increasingly interconnected, densely populated world.
This article was originally published with the title The Diabolical Genius of an Ancient Scourge.
Source: http://rss.sciam.com/~r/sciam/basic-science/~3/NWdAXdPsys4/article.cfm
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Is the 4.7-inch HTC One not the right size for your hands? Do Nokia's latest Lumia phones not appeal to your design sensibilities? Well, a leaked document from O2 Germany lists four unannounced devices reportedly coming out later this year that just might satisfy your very particular tastes. The HTC One Mini is on there (a 4.3-inch phone we're already well familiar with) as is the One Max, which rumors suggest will have Qualcomm's Snapdragon 800 and a 5.9-inch 1080p display. Moving on to Nokia, there's the "Eros," though that might be a typo for the 41-megapixel "EOS" that's expected to be announced on the 11th. There's also the "Mars," which is the first time we've heard that name. Check out the full list after the break.
Filed under: Cellphones, HTC, Nokia
Source: mobiFlip (translated)
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All Critics (102) | Top Critics (35) | Fresh (93) | Rotten (9)
It's a tribute to Gerwig's performance, somehow both clumsy and elegant, that she wins us over despite ourselves, that we come to appreciate her aimlessness in a goal-oriented society ...
This is an odd film (creepier than it knows), and even if you feel the atmospheric company of Dunham-ism, with a little of Whit Stillman, Henry Jaglom, and Woody Allen, the core influence on Noah Baumbach's film is fifty years older or more.
Baumbach usually builds his films around difficult protagonists, but Frances is entirely endearing, at once silly and deep, hopeless and promising.
The dialogue and editing are zippy and generally charming, combining with the tart observations of 20-something culture to create a nice frisson.
A black-and-white salute to the French New Wave (the score is borrowed from Georges Delerue, composer of many a Truffaut and Godard film) that manages to be very much of this moment ...
The movie's a love letter to an actress and her character, but by the end you may feel like an intervention is more in order.
Agreeable low-budget modern-day urban comedy.
Frances Ha is a refreshingly contemporary film, exploring 20-something hipster ennui with accuracy, empathy and humour.
As long as you remember to laugh, Frances Ha is a tolerable experience. Forget the "ha ha" and Frances Ha is beyond unbearable. I found this an odd and often frustrating truth, but it's what makes Noah Baumbach's new movie a success.
Gerwig keeps you on side and rooting for Frances to get her act together in what becomes an affectionate salute to messy lives, an endearing underachiever and a New York state of mind.
Don't be fooled by Frances with all her feigned insecurity and branding of herself as "undateable" and predicting she'll be a lonely spinster. She's a psychopath.
Gerwig's deft screwball timing turns every disaster into a grace note. This may be a comedy of awkwardness, but rather than curl, your toes will tap.
A refreshing amount of buoyancy to dance and charm its way through Quarter-Life Crisis territory. One of the best performances of Greta Gerwig's career to date
Frances Ha is a sympathetic but not uncritical depiction of a girl's gradual evolution into a woman; one that never condescends by forcing her to abandon all her quirks and impish qualities in the final act... An absolute delight, this is.
Indie darling Gerwig has a great deal to do with the picture's success: she's disarmingly likable...
There's a level of audacity beneath the lightweight whimsy in this unassuming low-budget comedy.
"Frances Ha makes a star out of Gerwig, and she's the kind of star we need: a goofy one we can feel tender about but never underestimate."
'I can't account for my own bruises,' Frances says, as if she were a clumsy kid with an adult's vocabulary. Does the remark refer to more than the abrasions on her skin?
A celebration of cinema, New York City and the distinctive charms of actress Greta Gerwig, Frances Ha was co-written by Gerwig and its director, Noah Baumbach, and it's the best film either has made.
There's a thin line between comedy and tragedy, and Greta Gerwig walks it remarkably well.
There's depth and realism in the way Frances Ha shows aspiration versus reality.
Gerwig, beyond a doubt, is immeasurably appealing, and Frances Ha is tailor-made to showcase her gifts better than anything she's ever been in.
...if you hold your nose and simply wallow through the stench of self-aggrandizement, you'll be rewarded with an experience that will actually tug on your emotions.
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Source: http://www.rottentomatoes.com/m/frances_ha_2013/
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Serena Williams of the United States follows through on a return during her Women's singles match against Sabine Lisicki of Germany at the All England Lawn Tennis Championships in Wimbledon, London, Monday, July 1, 2013. (AP Photo/Alastair Grant)
Serena Williams of the United States follows through on a return during her Women's singles match against Sabine Lisicki of Germany at the All England Lawn Tennis Championships in Wimbledon, London, Monday, July 1, 2013. (AP Photo/Alastair Grant)
Sabine Lisicki of Germany reacts after beating Serena Williams of the United States in a Women's singles match at the All England Lawn Tennis Championships in Wimbledon, London, Monday, July 1, 2013. (AP Photo/Alastair Grant)
Serena Williams of the United States reacts during her Women's singles match against Sabine Lisicki of Germany at the All England Lawn Tennis Championships in Wimbledon, London, Monday, July 1, 2013. (AP Photo/Alastair Grant)
Sabine Lisicki of Germany bows to the crowd after beating Serena Williams of the United States in a Women's singles match at the All England Lawn Tennis Championships in Wimbledon, London, Monday, July 1, 2013. (AP Photo/Alastair Grant)
Serena Williams of the United States returns to Sabine Lisicki of Germany in a Women's singles match at the All England Lawn Tennis Championships in Wimbledon, London, Monday, July 1, 2013. (AP Photo/Alastair Grant)
LONDON (AP) ? For 34 matches over 4? months, on hard, clay or grass courts, Serena Williams was unbeaten ? and, in the minds of many, unbeatable.
So it was apt, somehow, that the longest winning streak in women's tennis since 2000 would end at this memorably unpredictable edition of Wimbledon, where up is down, where seedings and pedigree mean nothing whatsoever, where even five-time champion Williams looked lost at the start and, most surprisingly of all, the finish of her fourth-round match.
Stumbling on the Centre Court grass a couple of times while her game slumped in crunch time, the No. 1-ranked and No. 1-seeded Williams dropped the last four games to bow out 6-2, 1-6, 6-4 Monday against 23rd-seeded Sabine Lisicki of Germany.
"Didn't play the big points good enough," said Williams, who had won three of the past four Grand Slam titles, including Wimbledon a year ago and the French Open less than a month ago. "I didn't do what I do best."
Oddly passive down the stretch, Williams essentially let Lisicki to do what she does best: dictate points quickly with a big serve, powerful returns and pinpoint groundstrokes. If that sounds familiar, could be because it's the formula Williams uses to dominate her sport. Except on this breezy afternoon, Lisicki compiled a 10-7 edge in aces, a 35-25 lead in winners, and broke Williams five times.
"Come on, guys, let's get with it. She's excellent," a composed Williams said at her news conference after blowing leads of 3-0 and 4-2 in the third set. "She's not a pushover."
Especially at Wimbledon. Her game is built for grass. Lisicki is a mediocre 16-15 at the other three Grand Slam tournaments and 17-4 at the All England Club. She reached the semifinals at Wimbledon in 2011, and is into her fourth quarterfinal, coincidentally beating the reigning French Open champion every time: Svetlana Kuznetsova in 2009, Li Na in 2011, Maria Sharapova in 2012, and Williams in 2013.
"Good omen," Lisicki said.
"Obviously," she said, "I went into the match feeling that I could win."
Might have been the only person who felt that way. After all, Williams owns 16 major championships, and entering Monday, the 31-year-old American had won 46 of 48 matches this season, and 77 of 80 since the start of Wimbledon in 2012.
"You cannot be perfect, every match, all year," said Patrick Mouratoglou, the French coach who began working with Williams last year. "She won 34 matches in a row. It has to stop one day. It has to happen. And it happened today."
The inevitability of failure, even for the most successful player, has never been made clearer than during this tournament. This was only the first day of the fortnight's second week, yet Williams joined quite a list of those already gone: Roger Federer, Rafael Nadal, Victoria Azarenka and Sharapova ? all major title winners, all former No. 1s, all out by the end of Day 3.
"This," summed up 17th-seeded Sloane Stephens, "has been a crazy Wimbledon."
Sure has. No U.S. men reached the third round, something that last happened 101 years ago, and Williams' departure made Stephens the lone American singles player left. The 20-year-old Stephens' first quarterfinal at the All England Club comes Tuesday against No. 15 Marion Bartoli of France, the 2007 runner-up.
The other matchup on their half of the draw is No. 8 Petra Kvitova of the Czech Republic, the 2011 Wimbledon champion, against No. 20 Kirsten Flipkens of Belgium. Tuesday's remaining quarterfinals are No. 4 Agnieszka Radwanska of Poland, who lost to Williams in last year's final, against No. 6 Li of China; and Lisicki against 46th-ranked Kaia Kanepi of Estonia.
Kanepi reached her fifth Grand Slam quarterfinal, and second at Wimbledon, with a 7-6 (6), 7-5 victory over 19-year-old Laura Robson, the first British woman in the fourth round at the All England Club since 1998. Robson, like others, took note of Monday's most significant outcome.
"I thought for sure Serena was going to win the tournament," Robson said, expressing a popular sentiment.
On Wednesday, the men's quarterfinals on the draw's top half are No. 1 Novak Djokovic of Serbia, a six-time Grand Slam titlist and the only remaining past Wimbledon winner, against No. 7 Tomas Berdych of the Czech Republic, the 2010 runner-up; and No. 4 David Ferrer of Spain against No. 8 Juan Martin del Potro of Argentina, the 2009 U.S. Open champion. On the bottom half, it will be No. 2 Andy Murray of Britain, the London Olympic gold medalist and 2012 U.S. Open winner, against 54th-ranked Fernando Verdasco of Spain; and No. 24 Jerzy Janowicz against his Davis Cup teammate and pal, 130th-ranked Lukasz Kubot, in a match between the first two Polish men to reach a Grand Slam quarterfinal since 1980.
One will give the country its first male semifinalist at a major tournament.
"We hugged. We are happy," Janowicz said. "Magical."
Janowicz's serve reached 137 mph and his temper flared on occasion as he beat 37th-ranked Jurgen Melzer 3-6, 7-6 (1), 6-4, 4-6, 6-4, while Kubot also won a five-setter, celebrating with a can-can dance routine after hitting 26 aces to eliminate 111th-ranked Adrian Mannarino 4-6, 6-3, 3-6, 6-3, 6-4.
Both Janowicz and Kubot benefited from one of the record-equaling 13 withdrawals or mid-match retirements last week, another element fueling the tournament's topsy-turvy feel.
"Everyone was a bit on edge, a little bit uptight, because of what was happening with the injuries, withdrawals, upsets and stuff," said Murray, who like Djokovic hasn't lost a set. "Obviously, Serena losing today is a major shock, as well."
Late Monday afternoon, British bookmakers were making Lisicki the favorite to win a trophy that hours earlier seemed destined for Williams. Asked whether that affects her in any way, Lisicki shot back: "No, not at all." Not even a little bit? Lisicki didn't blink and answered, "No."
It was the same steely demeanor the quick-with-a-smile Lisicki displayed at key moments on court, weathering a near-collapse in which Williams grabbed nine consecutive games to take the second set and go up 3-0 in the third.
"I just was fighting for every single point," Lisicki said, "no matter what was happening out there."
Williams hadn't lost a match anywhere since her three-set defeat against Azarenka in the final of the Qatar Open on Feb. 17. She hadn't even lost a set since the French Open quarterfinals against Svetlana Kuznetsova on June 4. But Lisicki showed things would be different Monday with an early five-game run, including when she smacked a forehand return winner to break at love and take the opening set.
Lisicki yelled, "Come on!" The crowd, eager to see something special, roared. Williams walked to the sideline slowly, stunned.
"I just was thinking, 'Let's get to a third set,'" Williams said. "That's what I always say when I lose a first set."
Going from considerable trouble to total control, as if simply by wishing to do so, Williams produced 43 masterful minutes in which Lisicki did not win a single game. Williams did not have an unforced error in the second set, and she even got some unneeded assistance early in the third, with two consecutive return winners that both clipped the net tape and bounced over.
"I felt," Williams said, "that I was on the verge of winning."
Lisicki finally ended the drought by holding to 3-1 with one of her four second-serve aces in the match, then a 115 mph service winner.
"Huge serves," Williams said. "Constantly, constantly, back-to-back-to-back."
That's how her opponents usually feel. But Lisicki managed to get better reads on returns late, and broke to get within 4-3 with a forehand passing winner as Williams lost her footing and fell to her knees. The next game was key. Lisicki fell behind love-40, meaning Williams had three break points, any of which would give her a 5-3 lead and allow her to serve for the match.
But Lisicki wouldn't fold.
"I put more pressure on her," she said. "I started to be more aggressive again."
One missed backhand by Williams, then a pair of winners by Lisicki, erased the break points, and she wound up holding with a 95 mph ace and 115 mph service winner. At 4-all, deuce, Lisicki hit a forehand passing shot after Williams tripped, making it break point. Williams then awkwardly sailed an overhead long, putting Lisicki ahead 5-4.
Suddenly serving for the biggest win of her career, Lisicki double-faulted to give Williams a break point ? and an opening. But it was Lisicki who closed strongly, hitting a 113 mph ace and a 99 mph service winner, and then ending a 17-stroke exchange with a forehand winner.
Lisicki dropped to her knees near the net, covering her face as tears flowed.
Williams was asked whether the pressure to win got to her.
"Not at all," she said. "I mean, every time I step out on the court, I'm the favorite."
That sort of thing hasn't mattered one bit at this Wimbledon.
___
Follow Howard Fendrich on Twitter at http://twitter.com/HowardFendrich
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