Quotulatiousness

August 18, 2012

Vikings win convincingly over Buffalo in second preseason game

Filed under: Football — Tags: , , — Nicholas @ 08:56

Unlike last week’s game at San Francisco, where you had to look carefully at the right angle and squint just a bit to see anything positive, the second preseason game had all kinds of positive signs. Here’s Dan Wiederer at the Star Tribune:

For all those Vikings optimists out there, Friday might well have been the perfect night just 23 days before the start of the regular season.

All those empty seats inside Mall of America Field? Hey, at least the stadium was half-full, right?

And for those who did turn out for a hype-free preseason game against the Buffalo Bills, it’s fair to say most left with a feeling this team’s glass may be half-full, too.

The Vikings not only built a 10-0 lead at the end of the first quarter of what turned out to be a 36-14 victory, but they did so with style, so many young players flashing the signs of promise that the coaching staff has been advertising since training camp began.

Where do we even start? That is, before rookie linebacker Audie Cole became an instant hero with two interception return touchdowns in the final minutes.

Do we begin with receiver Jerome Simpson, who on the game’s fourth play beat rookie Bills cornerback Stephon Gilmore on a short slant, then decided to show off his Olympic-style hurdling skills, leaping over safety Jairus Byrd on his way to a 33-yard pick-up?

Or do you start with Toby Gerhart’s continued power and the 30 yards he rushed for on six attempts?

Or is it easiest to circle back to the obvious command shown by second-year quarterback Christian Ponder, who orchestrated an impressive 80-yard touchdown drive to open the game, then tacked on a 50-yard march on the next possession to set up a Blair Walsh field goal?

Warships are not like books or DVDs

Filed under: Britain, Bureaucracy, Economics, Military — Tags: , — Nicholas @ 00:23

“Sir Humphrey” explains why adding another two Type 45 destroyers to the Royal Navy’s current construction plans won’t fly, even though it would be popular with many key constituencies: “it would win votes, it would keep supporters of the Navy happy, and the RN would be delighted”.

From the outset, let’s be extremely clear. This article is not saying that the UK could not build two more Type 45s – if the will is there, and the budget exists to do so, then anything is possible. As will be seen though, the challenge is trying to do so in a manner which makes rational sense.

[. . .]

In terms of support and manning, providing two additional Type 45s would raise a significant cost and manpower burden on the fleet. The RN has scaled itself to provide spares for six hulls. An additional two hulls means increasing spares by 33% above the existing fleet, which in turn would mean extra funding for parts, supplies, maintenance and munitions. Even basic issues like Sea Viper war shots, helicopter fleets, ammunition for 4.5” guns and the like would need to be increased. The funding for this is not in place at present. It’s not that the RN can’t find this funding, but that it will cost more to fund it than previously expected — this money has to be found from commensurate savings elsewhere.

[. . .]

The final point is perhaps the best reason why it would be near impossible to achieve this. There is simply no room in the construction yards to build two additional Type 45s. As was seen in the award of the MARS tanker project to Korea, the current UK shipbuilding industry is operating at peak capacity – the CVF programme is in pure tonnage terms providing the equivalent of 20 Type 45 destroyers worth of construction. The yards are full with CVF work now, and in a few years’ time will be ramping up to construct Type 26. To inject two additional Type 45s now would throw that programme into disarray as the yards struggle to work out how they can actually build the vessels. It’s not just a case of laying some steel down and a new ship popping up. T45s are built across multiple yards in parts, so it would need all the component yards to work together to fit it into their programme. They’d also need to work out how to take on the extra staff, who would then need to be made redundant later on as the workflow dropped off again. One of the key successes of the terms of business agreement is that the shipyards can plan for an agreed level of work. Adding ships in to this actually throws the plan into confusion as the yards have to resource to a higher level than before, incurring additional costs, and probably delaying both CVF and T26.

It is not impossible to build extra ships. That much is clear — if the willpower is there, then it can be done. But the days of shipyards existing in a short term environment, dependent on the next RN order, whatever it may be, are all but gone. The issue is the preservation of key skills, such as ship design and also high end manufacture of critical components, and doing so in a manner which makes the industry sustainable for the long term, and not the ‘boom and bust’ approach of the last century.

Regular readers of the blog may remember that the Type 45 destroyer design in particular came in for a hammering from other sources.

The road to publishing Orwell’s works

Filed under: Books, Britain, History, Media — Tags: — Nicholas @ 00:07

The notion of putting out a complete set of the works of George Orwell formed in the early 1980s. It was, as Peter Davison relates, a very long, troubled process:

For many years I taught scholarly editing and edited the work of Shakespeare and his colleagues (in particular 1 and 2 Henry IV, in Penguin editions still in print after some 45 years) — oh, and, for a New York publisher in 1971 a critical edition of music-hall songs. Out of the blue in July 1982 I was telephoned and asked if I would edit a de luxe edition of Orwell’s nine books. That meant closely comparing over fifty texts and manuscripts in twelve months. The intention was to publish this edition in 1984 — a new but intriguing kind of anniversary celebration. The concept of a de luxe edition of Down and Out in Paris and London and The Road to Wigan Pier has never ceased to amuse me but owing to the disastrous delays in getting even the first three books into print (they saw the light of day only in 1986 and had immediately to be pulped because the printer had used the uncorrected version of my text) that embarrassing description was quickly dropped. Two examples, both, fortunately, just caught in time, might well illustrate the kind of errors introduced by the printer. The title of Orwell’s last novel appeared as:

Nineteen 48pt
Eighty-Four

’48pt’ was, of course, the type-size for the title-page. And that famous formula, 2 + 2 = 5 appeared as 2r 29 5-

[. . .]

Obviously an edition of this extent takes time to produce, especially if the editor has also simultaneously to earn a living outside academe without benefit of grants and fellowships, but even then it might be asked why the 21 volumes took seventeen years to get into print. First, the edition was abandoned by its publishers — Secker & Warburg in London and by Harcourt, Brace Jovanovich in New York — no fewer than six times. For example, after being abandoned in summer 1986 it was again abandoned three years later — without it having been resuscitated in between. Perhaps foolishly, but in the end fortunately, we ignored ‘abandonments’ and simply kept at it, seeking, editing and annotating material.

Prog rock today: looking back on the future

Filed under: History, Media — Tags: , , , , — Nicholas @ 00:05

The final installment of Dave Weigel’s history of prog rock at Slate:

This is what fascinates me about prog. The music is relentlessly futurist, with no nostalgia for anything in rock. Was there excess? I think we’ve answered that — there was horrible excess, and some of it involved the lead singer from the Who singing atop a giant rubber penis. In the U.K., the music press turned on prog, and turned viciously. Same thing in the States. “If you can’t have real quality,” wrote Lester Bangs of ELP, “why not go for quantity on a Byzantine scale, why not be pompous if you’re successful at it?” Bangs, played by Philip Seymour Hoffman, made it into Cameron Crowe’s ‘70s nostalgia film Almost Famous. ELP did not.

[. . .]

Pop’s move away from prog didn’t happen that quickly. It was slow and tortured and involved a ton of moving parts breaking around the same time. In the United States, where most of this music ended up being sold, progressive rock radio slowly, slowly was assimilated into the Borg of commercial networking. “The reason free-form, underground progressive ended up becoming unpopular is it was the ultimate ‘active’ format,” says Donna Halper. “It was aimed at music freaks who adored everything about the newest groups and didn’t ever wanna hear a hit. OK, fine, that makes up about 6 percent of your audience. But the mass audience wanted a middle ground.” A&R men stopped looking for “progressive” acts. Sire stopped promoting Renaissance and started schlepping the Ramones. “You’d put an album out, but they were expecting to sell so many thousand,” says Davy O’List. “I don’t think it hurt the live concert attendances, but it hurt overall.”

Culturally and lyrically, prog began as anti-“establishment” music. But compositionally, it rewarded long listens and worship of virtuosity. Punk deconstructed that. [. . .]

Prog, went the thinking, was an affront against sincerity. If you gussied a song up with strings, surely you were covering for a lack of feeling. That point was made countless times, usually in the same terms with which Bangs dismissed ELP. The originators of prog were trying to make simple pop songs irrelevant. The music that replaced prog copied that reaction — what had gone before was corrupt, and had to be destroyed.

That sensibility lasted longer than most medieval land wars. The occasional mainstream defender of prog always, always started in defense mode. In June, this year, Ted Leo published a confessional in Spin all about his love for Rush. It was packaged as a “confessional” because Rush were proggy, and you couldn’t endorse prog qua prog.

[. . .]

Rush, who came late to the prog wave (1974), have trimmed back the pretention while flaunting the virtuosity. As a reward, they can still play stadiums, in basically any country. They just happen to be the most sellable artists in a niche genre. Virtuoso metal and math rock, bands like Mastodon and Protest the Hero, have nestled into the same place. That’s one fractal of modern-day prog.

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