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With Artemis missions, NASA will land the first woman and first person of color on the Moon. Here’s the Artemis Plan
China declares all crypto-currency transactions illegal
In all the enthusiasms, arguments and panics around tech, Apple is the $2tn elephant in the corner, mostly silent and serenely indifferent to the news cycle. It just ships - and it ships market-leading products, with metronomic precision, at massive scale, on a decade-long strategic roadmap. It also likes lecturing its peers. But is there another Jesusphone?
All My Homies Hate Skrillex
| A story about what happened with dubstep (documentary).
I’ve watched this two times this week. Even if you do not enjoy this type of music, I believe this can be an eye-opener as most people associate dubstep with Skrillex, which is ultimately a cultural lie.
If grime is the voice of angry urban London, dubstep is its primary echo, the sound of dread bass reflecting off decaying walls. To feel it, leave the sterile cleanliness of London’s centre. Follow the carrier wave as it heads for the margins, travelling south through Elephant & Castle, via Norwood and Thornton Heath to Croydon: the home of dubstep. But most of all you’ll hear the echoes of modern multicultural London, of Jamaican, African, Chinese, Indian, American, Cockney and even Scottish accents. Reflections come off crumbling warehouses, dirty towerblocks, endless row terraces, unhinged nightbus rides, skunked-out cars and clattering overland trains. London: this is the defining influence on dubstep; that which gives it its tempered, edgy, compressed character. These are the echoes of a tense, intense city. This is mystical margin music. This is London, 2004.