I've seen some debate on here about 'cancel culture', and there is a pretty good example of it happening on Twitter more-or-less now (or I guess it's probably old news in internet-time).

Here is Amanda Palmer's Original thread:
https://twitter.com/amandapalmer/status/1197525096937771010

Here is the perspective of the "the guardian's music editor" (not actually the music editor, but she is the woman Amanda Palmer's tweets allude too as the music editor):
https://twitter.com/laurasnapes/status/1197572693081698310

(the actual music editor also weighed in https://twitter.com/ben_bt/status/1197568113535070208)

It's pretty clear that there is an internet pile-on going down. Here is just a few of many examples:
https://twitter.com/JEHANCOURF/status/1197645652605448193
https://twitter.com/BrandyLJensen/status/1197660203937914880

Palmer's husband Neil Gaiman isn't escaping scrutiny either:
https://twitter.com/harrrithon/status/1197594514564820992
https://twitter.com/ThosMcStakin/status/1197662487593635840

Some unrelated anti-Palmer stories cropping up:
https://twitter.com/bombastic_luv/status/1197765401691742208
https://twitter.com/TamikaVST/status/1197672824040828928
https://twitter.com/TamikaVST/status/1197674952591327237

So my question is: is this the cancel culture everyone is worried about? Is twitter going 'too far'? Or is Amanda Palmer getting what she deserved?

I'm honestly on the fence. Give me your thoughts.

From GiveDirectly's blog:

In 2014, GiveDirectly partnered with academic researchers to launch our largest study ever in Kenya. The ultimate goal: find out how cash transfers affect local economies, including nearby non-recipients, enterprises, and markets. Now, in 2019, the results of this research have been released.

Abstract of the paper:

How large economic stimuli generate individual and aggregate responses is a central question in economics, but has not been studied experimentally. We provided one-time cash transfers of about USD 1000 to over 10,500 poor households across 653 randomized villages in rural Kenya. The implied fiscal shock was 15 percent of local GDP. We find large impacts on consumption and assets for recipients. Importantly, we document large positive spillovers on non-recipient households and firms, and minimal price inflation. We estimate a local fiscal multiplier of 2.6. We interpret welfare implications through the lens of a simple household optimization framework.

Some interesting tidbits from the paper:

Interestingly, sales increased without noticeable changes in firm investment behavior (beyond a modest increase in inventories), and sales do not increase differentially for firms owned by cash recipient households relative to nonrecipients. Both patterns suggest a demand-led rather than an investment-led expansion in economic activity.

[...]

We next examine how these changes affect untreated households. Despite not receiving transfers, they too exhibit large consumption expenditure gains: their annualized consumption expenditure is higher by 13% eighteen months after transfers began, an increase roughly comparable to the gains contemporaneously experienced by the treated households themselves.

(Emphasis added.)

[...]

Average price inflation is 0.1%, and even during periods with the largest transfers, estimated price effects are less than 1% and precisely estimated across all categories of goods.

[...]

Real output increased, and yet there is at most limited evidence of increases in the employment of land (which is in fixed supply), labor, or capital. One plausible, albeit speculative, possibility is that the utilization of these factors was “slack” in at least some enterprises (Lewis 1954). This seems plausible because in the retail and manufacturing sectors, where output responses were concentrated, the typical firm has a single employee (i.e. the proprietor), suggesting that integer constraints may often bind. In addition, many enterprises operate “on demand” in the sense that they produce only when they have customers, and the average non-agricultural enterprise sees just 1.7 customers per hour. In addition to retail, much manufacturing in this setting is “on demand;” for example, a mill owner waits for customers to bring grain and then grinds it for them. The existence of slack may help account for the large multiplier we document, as has also recently been argued in US data, especially in poorer US regions (Michaillat and Saez 2015; Murphy 2017).

Givedirectly blog - Full paper (pdf)

From the transcript:

By 1988, for the first time, more fast-food orders were taken at a drive-through window than at the restaurant. And this was a problem for the wimpy french fry because by the time you got home from the drive-through, the fries were no good.

[...]

So back then - almost 20, 25 years ago - Lamb Weston invented a coating called Stealth, which was their secret coating that you couldn't see and you couldn't tell was on the french fry, but it lasted - it was crispier longer, up to 12 to 15 minutes.

[...]

But this potato company has a new problem now - delivery. And a 12- to 15-minute lasting Stealth french fry isn't going to cut it because delivery takes longer than a drive-through. The average delivery wait time in a busy city is 20 to 30 minutes because drivers pick up multiple orders and make multiple stops.

[...]

They're starting to pitch these fries to fast food chains now. So they're not in stores yet, but Deb says they could be in a couple months. You won't know it's a crispy on delivery fry just like you don't know when you're eating a stealth fry. You'll just know you had a better french fry delivery experience.

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MEDIEVAL MYTH BUSTING - Arrows vs Armour from Tod's Workshop YouTube Channel

Other extra videos in the series:
Find out More - The Battle
Find out more - The Armour
Find out More - Medieval Arrows

edit: Tod also re-uploaded the previous video with better sound:
Find out More - Medieval Arrows*

I wanted to write about self-forgiveness because it's such a hard thing for me to do. Past mistakes and trespasses stick in my mind for decades, and it's so hard for me to shake them. This work is an attempt at expressing that difficulty.

Down in the foothills the peak is so perfect
Covered in pure white snow
Nary a tree in sight
The peak carves a visage in the sky
In the clouds
It just is, it exists peacefully in its austere authority
Calm, serene
Impossible
Yet I yearn to climb
To ascend
Down in the foothills among the trees
The greenof the hills
I make my preparations
Breath
Training
Gear
I practiceand I meditate
I meditate upona life
A life of mistakes and triumphs
Each breath preparing and steeling

It's time to begin my climb
Each step and the air, the precious vital air, thins
Lungs emptying and muscles weakening
And yet I continue
Not quite undaunted, but I continue
The views are stunning
Yet I don't see them, eyes ever on the peak
Visualizing success, not the process
It's so cold
Bitterly, viscerally cold
There's no air
Even a yogi must stop for air
But there's no air
The ground slick with snow and ice
Snow and ice with the oxygen I need
Sealed away in the mystery of the bonds
Just as beautiful as it is inaccessible

But I continue my climb
Slipping and falling, the rocks cut and score
Gashes and bruises amass
I take a moment and reflect
Is it worth it?
Shall I ever ascend?
And as I slip into meditation, I slip down the mountain
All progress lost
The world turns around, up and down
I lose my breath
And land, dizzy and hurt, down the bottom
Even further from the peak than when I started.

This is another British comedy that I think people will enjoy. The title is weird: Peter Kay is the stand up comedian, but he's playing a character in this sitcom. IMDB calls it "Car Share", but BBC calls it "Peter Kay's Car Share". It's British, so weirdly small number of episodes: only 12 (and this includes all the specials).

The setup sounds like it's going to be unbearably claustrophobic, a series long bottle episode. A supermarket sets up a car sharing scheme, and we watch John and Kayleigh share a car as they drive to work everyday. But this creates intimacy and we get to learn about the characters. It's heartfelt and lovely. It's well acted, and I think it's very funny.

https://www.imdb.com/title/tt4635922/

https://en.wikipedia.org/wiki/Peter_Kay%27s_Car_Share

https://www.bbc.co.uk/programmes/p02n62v4

My use case:
I watch videos (YouTube) and listen to audio (Podcasts) as a major part of my weekly media intake. I would love some sort of generated Tildes Playlist . IANADev, but it sure would be nice if Tildes was able to parse, scrape, and categorize media posted as topics and in comments. Then present them to me with a date filter, and allow separating audio only and video media. Maybe something like tildes.net/?tag= but at tildes.net/playlist. I guess it would be nice to be able to sort media by tag as well.

Possible other use case:
Accessibility?

I see that some videos are already being tagged "videos." So there already is some organic interest in this special category, right?

What do you all think, is this useful?

From a dev perspective, is getting that correct enough difficult? Does Embedly categorize audio only and video?

edit: in the playlist view, there should of course be a link back to the topic or comment where the media was found. Also, @Deimos, I certainly don't want to take Tildes away from the text-first/only direction of the site, but sometimes I am doing stuff conducive to audio/video media intake like cooking, driving, etc. It would be cool to be able to easily consume it then, and come back to comment later.

From the article:

For all that Curses entranced me, however, I never came close to completing it. At some point I’d get bogged down by its combinatorial explosion of puzzles and places, by its long chains of dependencies where a single missed or misplaced link would lock me out of victory without my realizing it, and I’d drift away to something else. Eventually, I just stopped coming back altogether.

I was therefore curious and maybe even slightly trepiditious to revisit Curses for this article some two decades after I last attempted to play it. How would it hold up? The answer is, better than I feared but somewhat worse than I might have hoped.

[...]

[Curses] was designed, like his beloved Crowther and Woods Adventure, to be a place which you came back to again and again, exploring new nooks and crannies as the fancy took you. If you actually wanted to solve the thing… well, you’d probably need to get yourself a group for that.

[...]

All of which is to say that, even as it heralded a new era in interactive fiction which would prove every bit as exciting as what had come before, Curses became the last great public world implemented as a single-player text adventure.

More

General Programming Q&A thread! Ask any questions about programming, answer the questions of other users, or post suggestions for future threads.

Don't forget to format your code using the triple backticks or tildes:

Here is my schema:

```sql
CREATE TABLE article_to_warehouse (
  article_id   INTEGER
, warehouse_id INTEGER
)
;
```

How do I add a `UNIQUE` constraint?

Anticipating their new album that came out today, I've been on something of a Nits trip lately. (It's more pleasant than it sounds, I promise!) Since I think these guys should and could be better known, I thought I'd spread the gospel a little bit.

Throughout their almost five decades of existence, Nits (or The Nits) have been critically acclaimed, yet have never really conquered the charts. There are various likely reasons for this. For one, they exist in that difficult-to-market realm of "art pop" and have continued to reinvent themselves and their sound from album to album. As a Dutch band, they have also never had the backing of a major British or US label, and although the songs are primarily in English, perhaps the singer-lyricist Henk Hofstede's accent has also sounded too non-native for the masses.

If you do know Nits, you most likely know them from their minor 80s hits Nescio (1983) and In The Dutch Mountains (1987). Those two songs capture their 80s style pretty well in terms of their sound and lyrical content, and the videos are also great examples of their visual style.

These two songs came out during what was actually their second distinct musical period. Their first four albums, released between 1978 and 1981, were riding the new wave wagon, a good example of which is the song Tutti Ragazzi (1979). But I would say that it was with 1983's Omsk where Nits really started to display their full potential and began to solidify into a core three-man unit of the aforementioned Hofstede, drummer Rob Kloet, and keyboardist Robert Jan Stips who had produced their earlier albums but now joined the band fully. There have been other members over the years, but these three are the main contributors; Hofstede with his voice and story-like lyrics, Kloet with his wide range of beats and rhythms that cross musical genres, and Stips who brings in a particular depth and space in which the songs can breathe freely.

In addition to the two tracks I mentioned earlier, other songs from their 80s and early 90s output that I would recommend as an introduction include A Touch of Henry Moore (1983), Sketches of Spain (1986), Radio Shoes (1990), and Giant Normal Dwarf (1990).

There has always been an undercurrent of melancholy to Nits's music, but it tends to be balanced with their quirky sense of humour. In the 90s, however, the melancholy started to take over, and Hofstede's lyrics became increasingly focused on the human condition while the music dropped some of its overt playfulness. Some wonderful pieces from this period include Cars & Cars (1992), Mourir Avant Quinze Ans (1994), Three Sisters (1998) and Ivory Boy (2000). This period also witnessed a major change in the lineup, as Stips departed the band in 1996. He joined back seven years later, from which point onwards they have been a three-member band.

While the evolution of their style has been gradual, I would say that by the late 2000s, Nits had moved into their fourth major period. Whereas their influences have always clearly included artists like the Beatles (the band's name is sort of a nod to them), Talking Heads, Leonard Cohen, Paul Simon and Bob Dylan, I feel Nits have more recently toned down some of their earlier experimentation and focused more on the qualities that made their influences such great songwriters. From this latest period, take a listen to The Flowers (2008), Distance (2009), Love Locks (2012) and Flowershop Forget-Me-Not (2017).

This brings us to today's album, Knot, which is something like the group's 25th studio album. Or maybe 26th. Or something else, depending on your definition of a studio album. In any case, as I understand it, this new work was largely parsed together from hours of improvisation, and it does sound like that. The eleven tracks feel like mood pieces, fairly static paintings, captured moments. But I have of course only given the album a handful listens so far, so this is an early impression still. In any case, here's the album opener Ultramarine (2019).

I hope this little write-up will be of interest to some of you and that perhaps the linked music speaks to you on a level that pushes you to dig in deeper. If you use Spotify, the "This Is Nits" playlist is a pretty good next step to take.

If you do take a listen, I'd be curious to hear what you think of the music. Or if you knew Nits before, I'd love to hear what you think my little introduction here missed, misinterpreted or should have emphasised more. And what's your view of the new album?