- Chili peppers
- Factor 50 Sun Tan lotion
- Garlic
Only from the last fortnight or so, so subject to change
Only from the last fortnight or so, so subject to change

Daftness inspired by NerdRepublic’s Jon Harris
…
Sean Slater: We’ll bury him alive.
GM: What are you using?
Sean: The shovel of B&Q!
GM: Roll 1d8
Sean: a 3…
GM: After over three hours of sweat and toil you have dug a pit in the back garden the size of a Nissan Micra.
Tanya Branning: We’ll throw Max in.
Max Branning: I’m putting up a fight!
GM: You’re unconscious. Tanya and Sean, roll 1d10 each.
Sean: A 5.
Tanya: 6.
GM: You roll Max into the pit, and he lands face down in the muddy water at the bottom with a splash. He makes sucking noises as he begins to drown in the water.
Max: Saving throw?
GM: Roll 2d10…
Max: 38?
GM: In your unconscious mind you see the face of you’re childhood sweetheart welcoming you down a long tunnel that slowly closes in around you.
Max: Crap.
Tanya: We’ll head to the Old Vic!
Sean: And I’ll order drinks.
GM: Roll 2d4…
Sean: 4?
GM: Standing, sipping warm ale at the bar you are struck by the terrifying thought that you left Max drowning in a unfilled hole in your back garden in broad daylight.
Sean: Fuck!
GM: And you’re holding a muddy shovel, dripping with sweat.
Ian Beale: Are the rest of us in the pub yet?
Dot Cotton: And am I still rolling to fix this tumble drier?
…
Hopefully it’s as obvious that this has nothing really to do with the BBC or TSR as the fact that I’ve never watched an episode of EastEnders.
How did I not hear about the Brixton Pound till now?Digest powered by RSS Digest
Digest powered by RSS Digest
c/o waxy.org
“Last week, a number of developers reported that Apple was rejecting iOS applications that used Dropbox, a popular cloud file storage and backup system. An initial thread on the Dropbox developers’ forum has led to a outpouring of tech news full of hyperbolic claims. However, none of this reporting has covered the real problem – Apple is now more concerned about protecting its business model than serving its users or its developers.
…
The Dropbox rejections are another reminder that iOS developers are entirely dependent on Apple’s whims to reach users inside its walled garden. App rejections can lead to weeks of fixes and months of lost sales. Furthermore, Apple’s review system is non-transparent, the policies violated aren’t public and enforcement is subject to change. Developers can question reviewer rulings, but all of this takes place out of the public eye– hence Dropbox having no idea that apps using its SDK were being rejected till Peuc posted on the forum.”
The best solution is the hardest one: To reform copyright law to legalize the distribution of free, non-commercial cover songs.
“The simulator lets users fly around London in Google Earth by mimicking the motions of a pigeon in front of a Kinect depth camera. The system recognise a number of flying gestures: banking left or right to turn, flapping your arms to gain height and leaning forward to dive. Users can also perform a “beam me up Scotty” gesture by placing one hand on their chest, returning them to the starting point at UCL.”
c/o nerdrepublic
Digest powered by RSS Digest
Stay Free!: With its hundreds of samples, is it possible to make a record like It Takes a Nation of Millions today? Would it be possible to clear every sample?
Shocklee: It wouldn’t be impossible. It would just be very, very costly. The first thing that was starting to happen by the late 1980s was that the people were doing buyouts. You could have a buyout–meaning you could purchase the rights to sample a sound–for around $1,500. Then it started creeping up to $3,000, $3,500, $5,000, $7,500. Then they threw in this thing called rollover rates. If your rollover rate is every 100,000 units, then for every 100,000 units you sell, you have to pay an additional $7,500. A record that sells two million copies would kick that cost up twenty times. Now you’re looking at one song costing you more than half of what you would make on your album.
And more recently:
In all, the album is thought to have as many as 300 total samples. The sampling gave Paul’s Boutique a sound that remains almost as distinctive today as it was when it was released in 1989.
Perhaps the main reason—and certainly the saddest reason—that it still sounds distinctive is that a rapidly shifting legal and economic landscape made it essentially impossible to repeat.
c/o Kottke.org