We’re into the home stretch now, with just a week left to go before the headstart period for pre-purchasers begins. My usual community round-up at GuildMag is now online. This week’s post includes lots of getting started guides for first-time players plus the usual assortment of blog posts, podcasts, and videos from the Guild Wars 2 fan community.
You might also be interested in my brief wrap-up report from the most recent GW2 stress test here.
There are few newspapers who have been as supportive of Julian Assange in his legal plight than the Guardian. When even Guardian columns find it difficult to figure out why he turned to Ecuador, we’ve moved into a different universe:
Julian Assange’s circus has pulled off another breathtaking stunt: he has won political asylum in Ecuador. Assange’s flight from Sweden, a decent democracy with a largely excellent justice system, takes ever more absurd forms. After the decision of Ecuador’s foreign minister, Ricardo Patiño, the Swedish Twitterverse filled with mocking jokes.
Assange has few fans left here. On the contrary, his unholy alliance with Ecuador’s political leadership casts a shadow over what was, despite everything, his real achievement: to reveal shattering news through the revolutionary medium of WikiLeaks.
Patiño praised Assange as a fighter for free expression, and explained that they had to protect his human rights. But Ecuador is a country with a dreadful record when it comes to freedom of expression and of the press. Inconvenient journalists are put on trial. Private media companies may not operate freely.
President Rafael Correa is patently unable to tolerate any truths that he does not own. Reporters Without Borders has strongly and often criticised the way that media freedoms are limited in Ecuador. Assange is a plaything for the president’s megalomania.
Karen Selick in the National Post confirming that Canadian police are also under the impression that their work cannot legally be photographed:
What have cops got against cameras these days? Increasingly, people are getting arrested, charged or even assaulted by police officers, merely for attempting to take photos or videos of officers at work. Often, police simply command people to stop photographing. Scared into thinking they must be breaking some law, citizens comply.
When Polish visitor Robert Dziekanski died after being tasered at the Vancouver airport in 2007, police seized the now famous video made by witness Paul Pritchard, who had to hire a lawyer and threaten court proceedings to get it back.
[. . .]
There is no law in Canada that prohibits people from openly photographing police. Section 129 of the Criminal Code prohibits “wilfully obstructing” police in the execution of their duty, but it is hard to imagine how standing by peacefully and videotaping as police searched the premises and piled up items for seizure could be considered obstructing. After all, the police themselves were videotaping on Ms. Jones’ premises — but selectively. They probably didn’t capture themselves ordering her friend to refrain from taking the pictures she was legally entitled to take.
That same day, three other search warrants were executed at the homes of other individuals the CFIA suspects of conspiring with Ms. Jones to save her healthy sheep. At Michael Schmidt’s residence, all cell phones were immediately confiscated. When a visitor from outside arrived with his cell phone, Schmidt’s wife borrowed it and took photos of police inside her home. Officers seized the phone even though it was clearly outside the scope of the warrant. They returned it three hours later, with the photos erased. When the victim of this apparently illegal seizure objected, police responded, “We can do whatever we want.” But of course, that arrogant response was not permitted to be recorded.
[. . .]
Police must be made to understand that being on duty or executing a search warrant does not transform an officer into a petty dictator with carte blanche to issue arbitrary orders to everyone in sight. Police cannot do “whatever they want.” Citizens have the right to hold them accountable for their actions. Personal cameras are important tools in implementing that right. Bullying people out of using them must cease.
An update from Strategy Page on how far the Russian nuclear submarine threat has diminished from its peak during the cold war:
Three years ago two Akulas were detected (by the U.S. Navy) off the east coast of the United States, in international waters. Russia admitted two of its Akula class boats were out there. This was the first time Russian subs had been off the North American coast in over a decade. This spotlights something the Russian admirals would rather not dwell on. The Russian Navy has not only shrunk since the end of the Cold War in 1991, but it has also become much less active. In the previous three years, only ten of their nuclear subs had gone to sea, on a combat patrol, each year. Most of the boats going to sea were SSNs, the minority were SSBNs (ballistic missile boats). There were often short range training missions, which often lasted a few days, or just a few hours.
The true measure of a fleet’s combat ability is the number of “combat patrols” or “deployments” in makes in a year and how long they are. In the U.S. Navy, most of these last from 2-6 months. Currently U.S. nuclear subs have carry out ten times as many patrols as their Russian counterparts. Russia is trying to catch up, but has a long way to go.
Russia has only 14 SSNs (nuclear attack subs) in service and eight of them are 7,000 ton, Akulas. These began building in the late 1980s and are roughly comparable to the American Los Angeles class. All of the earlier Russian SSNs are trash, and most have been decommissioned. There are also eight SSGN (nuclear subs carrying cruise missiles) and 20 diesel electric boats. There is a new class of SSGNs under construction, but progress has been slow.
[. . .]
The peak year for Russian nuclear sub patrols was 1984, when there were 230. That number rapidly declined until, in 2002, there were none. Since the late 1990s, the Russian navy has been hustling to try and reverse this decline. But the navy budget, despite recent increases, is not large enough to build new ships to replace the current Cold War era fleet that is falling apart. The rapid decline of Russia’s nuclear submarine fleet needed international help to safely decommission over a hundred obsolete, worn out, defective or broken down nuclear subs. This effort has been going on for over a decade, and was driven by the Russian threat to just sink their older nuclear subs in the Arctic Ocean. That might work with conventional ships, but there was an international uproar over what would happen with all those nuclear reactors sitting on the ocean floor forever. Russia generously offered to accept donations to fund a dismantling program that included safe disposal of the nuclear reactors.
Although I’ve been happily linking to the prog rock series of articles at Slate, not everyone thinks that progressive rock is great. Here’s an “ad” put together by @SlateV for prog’s greatest hits (H/T to Dave Weigel himself):
And here’s James Lileks from a few years back:
It’s obvious from Note One that everyone involved in the effort had so much THC in their system you could dry-cure their phlegm and get a buzz off the resin, but instead of having the loose happy ho-di-hi-dee-ho cheer of a Cab Calloway reefer number, the songs are soaked with Art and Importance and Meaning. You can imagine the band members sitting down to hash out (sorry) the overarching themes of the album, how it should like start with Total Chaos man because those are the times in which we live with like war from the sky, okay, and then we’ll have flutes because flutes are peaceful like doves and my old lady can play that part because she like studied flute, man, in high school. The lyrics are all the same: AND THE KING OF QUEENS SAID TO THE EARTH THE HEIROPHANT SHALL NOW GIVE BIRTH / THE HOODED PRIESTS IN CHAMBERED LAIRS LEERED DOWN UPON THE LADIES FAIR / NEWWWW DAAAAY DAWNNNING!
Part four of Dave Weigel’s look at the rise and fall of progressive rock:
The order, Rick Wakeman remembers, was for chicken vindaloo, rice pilau, six papadums, bhindi bhaji, Bombay aloo, and a stuffed paratha. This was November 1973 and Yes had sold out the Manchester Free Trade Hall for a performance of Tales From Topographic Oceans. The album consisted of four songs that rolled gently together, over four sides of vinyl, for 83 minutes. “There were a couple of pieces where I hadn’t got much to do,” Wakeman would recall, “and it was all a bit dull.
During every show, a keyboard tech reclined underneath Wakeman’s Hammond organ, ready to fix broken hammers or ribbons and to “continually hand me my alcoholic beverages.” That night in Manchester, the tech asked the bored Wakeman what he wanted to eat after the show. Wakeman, the lone carnivore in Yes, ordered the curry. “Half the audience were in narcotic rapture on some far-off planet,” Wakeman wrote in his 2007 memoir, “and the other half were asleep, bored shitless.”
Wakeman kept on at the keyboards, adding gossamer organ melodies and ambient passages to the songs. And then, around 30 minutes later, his tech started handing up “little foil trays” of curry, and Wakeman began placing them on top of his keyboards. “I still didn’t have a lot to do,” he wrote, “so I thought I might as well tuck in.” The food was obscured by the instrument stacks, further obscured by Wakeman’s cape, but the aroma danced over to Yes’s lead singer, Jon Anderson. He took a good look at the culinary insult. Shrug. Papadum in hand, he returned to his microphone to sing his next part.
Tales From Topographic Oceans just might be the recorded ur-text of prog rock excess. No band had ever tried to fill each side of two LPs with long, multisection suites. Yes did it, and voila — a No. 1 album. They went on tour with a sci-fi lullaby backdrop, designed by their three-time album cover artist Roger Dean. He had seen the sort of enormous venues they’d booked, realized how hard it now was for faraway audiences to see the band, and so voila — phantasmagoric eye candy. Their set began with 82 minutes of new music before they played an old familiar tune. They played in their biggest-ever concert halls, and they sold them out.
But as the tour went on, Yes dropped the third section of the album from the show, then the second. Soon, Wakeman vented to reporters about the band’s screw-up. “Tales From Topographic Oceans is like a woman’s padded bra,” he told one interviewer. “The cover looks good but when you peel off the padding there’s not a lot there.” Yes had gotten too damn silly. The music had collapsed in on itself.
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