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About The Comets
The Comets' Tale
April 242019 Award Winning Newspaper Staff
April 20GL Baseball Spring Training
April 8Newest Addiction: Social Media
2018 Sports Year in Review
2018 was a great year for football, basketball, golf, and soccer.
Illustration by Jonathan Callison
Noah Housler, News Editor
Filed under Sports
In the world of sports, 2018 was a memorable year for fans of the established best teams in sports, but underdogs had some fun too.
In January, college football fans saw Georgia take down Heisman winner Baker Mayfield, leading Oklahoma 52-48 in double overtime in the Rose Bowl to earn a spot in the College Football Playoff title game. On the other side of the playoff bracket, the number four Alabama obliterated number 1 Clemson, 24-6. When Alabama met Georgia in the title game, they struggled through much of the game before bringing in true freshman Tua Tagovailoa for the second half. Winning the national championship as a true freshman was the beginning of Tua's rise to a second place finish in the Heisman race.
February brought sports viewers the 52nd edition of the Super Bowl. The longstanding dynasty of the New England Patriots took on the underdog Philadelphia Eagles led by backup quarterback Nick Foles. The Eagles held off the Patriots' attempt at a signature New England comeback and won the city of Philadelphia their first ever Super Bowl championship.
Madness was the perfect description for the 2018 edition of March Madness, the widely adopted nickname for the NCAA men's basketball tournament. The University of Maryland Baltimore County pulled off an incredible first time feat by taking down number one overall seed Virginia in the first round as a 16 seed. In the second round, freshman Jordan Poole saved Michigan's season with a three point buzzer beater against Houston. Loyola-Chicago continued their impressive run with another down to the wire win over Nevada in the Sweet 16. In the final four and the final game in the month of March, Michigan took on Cinderella story 11 seed Loyola-Chicago and came out victorious after pulling away in the second half. On the other side of the bracket, Villanova wiped the floor with Kansas in one of the most dominant offensive performances in recent memory.
On April 2, Villanova and Michigan took the court for the National Championship. Villanova put together another lights out shooting game led by Donte DiVincenzo, who scored 31 points coming off the bench. Propelled by DiVincenzo's performance, Villanova dominated Michigan from start to finish. Villanova secured their second national title in three seasons, a definitive mark of a program that will go down in history as one of the best. The following weekend, the 82nd edition of the Masters was played at arguably the most iconic course in golf, Augusta, located in Augusta, Georgia. Tiger Woods played in his first Masters in three years. Woods finished +1 for the tournament with only one round played under par. This was definitely not the performance golf fans were expecting, but other fan favorites such as Rickie Fowler, Rory McIlroy, and Jordan Spieth were in heavy contention until the end. However, on Sunday, it was Patrick Reed putting on the prestigious green jacket as a Masters champion.
The month of May was pretty light on sports but the NBA playoffs were played, narrowing it all down to Lebron vs the Warriors. In a slightly more competitive sport, the UEFA Champions League final was played on May 26 in Kiev. Mo Salah led Liverpool took on back to back UCL champions Real Madrid in Cristiano Ronaldo's final game for the club. Real Madrid won the game in dominant fashion 3-1, Gareth Bale scored one of the greatest goals of all time, and Mo Salah dislocated his shoulder on what many believe to be a dirty play by Sergio Ramos. After adding in a completely abysmal goalkeeping performance by Liverpool's Karius, this would be an easy day to forget for Liverpool fans.
June was a forgettable month for just about anyone who does not support the Golden State Warriors. The Warriors won their second title in a row after sweeping Lebron and an otherwise forgettable Cavaliers squad. This Cavaliers roster included JR Smith who at one point did not realize his team was losing the game and dribbled the clock out when he had a chance to score. The FIFA World Cup in Russia began on June 14 with two weeks of group stage play for spots in the knockout stage. After the group stage finished, 16 teams were left, Russia and Japan being the two biggest surprises.
In July, the World Cup knockout stage was played with quite a few very memorable games notably in the round of 16 when France defeated Argentina 4-3. This 4-3 win for France included two goals in four minutes from 19 year old phenom Kylian Mbappe. Portugal was also beaten in the round of 16 by Uruguay 2-1, both Uruguay goals being scored by Paris Saint-Germain stand out Edinson Cavani. With Argentina and Portugal both out in the round of 16, the endless Messi vs. Ronaldo debate was calmed for the remainder of the tournament. The semi-finals pitted France vs. Belgium and Croatia vs. England, both games were decided by a single goal difference and France was set to take on Croatia at the final in Moscow. France dominated the entirety of the championship game and won 4-2 with goals from three of their own players along with Croatian standout Mario Mandzukic putting in an own goal. The third place game between Belgium and England finished in a 2-0 victory for Belgium.
August was a very empty month for sports like most years. However, European club soccer and college football kicked off the 2018-19 season in August.
September featured quite a few marquee college football matchups for teams that are open to playing good teams early in the season. On September 1, Auburn played Washington in Atlanta at Mercedes-Benz stadium, a neutral site game in which Auburn still had a home field advantage. Auburn utilized this advantage and secured a 21-16 win. Shortly after the game in Atlanta concluded, old rivals Michigan and Notre Dame were set to square off in South Bend for the first time since 2014, the end of the Brady Hoke era. The Fighting Irish were up 21-0 in the blink of an eye after another typical Michigan big game on the road start. At the time this game was played, Michigan had not beaten a ranked team on the road since Notre Dame in 2006. That streak would continue after this game as Notre Dame secured a 24-17 victory with a suffocating defensive effort. After week one there were still quite a few notable games in September. Clemson played at Texas A&M in Jimbo Fisher's opening season with the Aggies, but the Clemson Tigers survived the scare 28-26. Another early season surprise was Michigan State's trip into the desert to play Herm Edwards and his Arizona State Sun Devils. The Spartans returning 19 starters had high expectations for this season but were stunned early by the Sun Devils 16-13, after a perfectly coached final stretch of the game by Herm Edwards.On the final weekend of September, James Franklin executed his signature move perfectly, mismanaging a big game his team is in a position to win. This time against Ohio State, after calling a draw play out of the shotgun formation on 4th and 5 on the final drive of the game.
With October comes rivalry week, and the agenda pushing and mental gymnastics that come with it. When the big day came on October 20, both teams were on different trajectories despite the Spartans victory in Happy Valley the week before, as Michigan came into the game 7-1 and Michigan State 4-3. Before the game, there was a dispute between Michigan players warming up on the field and Michigan State players doing their traditional pregame march across the field. The Michigan players refused to get out of the way resulting in a small scuffle in which players were clotheslined and had headphones ripped off, ending in Wolverine standout Devin Bush defacing the Spartan logo with his cleats. Spartan fans hoped this would revive the chip on the shoulder, us against the world mentality that Mark Dantonio has built a program out of; however that is not how the game went. Michigan's defense held the Spartans to 94 total yards of offense but still struggled to break the game open on the other side of the ball. The Wolverines ended up taking Paul Bunyan back to Ann Arbor with a 21-7 victory and a Chase Winovich "little brother" comment on national television. Prior to the in-state rivalry game, those in the Grand Ledge area have invested themselves in so heavily, Oklahoma and Texas squared off in the Red River rivalry game in Norman. Texas won this game 48-45 sparking the debate about if the Longhorns really were "back."
November began with Alabama demolishing LSU in Death Valley and Michigan avenging the 2017 disaster in Happy Valley with a 42-7 win at the Big House. Michigan State hoped to turn their season around in a home game against an Ohio State team that seemed to have weaknesses. The Spartan defense tried to do so. However, Brian Lewerke, his 39% completion rate, along with Dave Warner, had other plans. Ohio State took home a 26-6 win, with a defensive touchdown and a safety. The Saturday after Thanksgiving, a dreaded day for almost all Wolverine fans, came with a different attitude. This was the year it was supposed to be different, just like many other years, and as many feared, it was not. Six touchdowns for Dwayne Haskins later, the Buckeyes embarrassed Michigan and their "revenge tour" 62-39 in Urban Meyer's alleged final game at Ohio Stadium. College basketball also tipped off in November, most notably No. 6 Michigan State vs. No. 7 Kansas at Bankers Life Fieldhouse in Indianapolis. Kansas won the game 92-87 after a poor first half from the Spartans. Michigan avenged the National Championship loss with a 73-46 win, and also beat North Carolina in a similar fashion just 2 weeks after. Super team Duke also suffered their first defeat at the hands of Gonzaga.
The college football postseason is almost entirely a December affair for most programs. Relevant bowl season began on December 28, with No. 13 Washington State and No. 24 Iowa State in the Alamo Ball in San Antonio. Fan favorite quarterback Gardner Minshew and the Cougars won in a close game 28-26. On the same night, No. 20 Syracuse defeated West Virginia, without Will Grier, 34-18. The next day Michigan came to Atlanta for the Chick-Fil-A Peach Bowl to play Florida for the third time in the Harbaugh era. Michigan brought the same losing energy from Columbus and lost another game in a blowout 41-15. Later in the day, Clemson obliterated Notre Dame 30-3 in the opening playoff game, the Cotton Bowl in Arlington. The second playoff game was a much more competitive game. Alabama defeated Oklahoma 45-34 to advance to back to back National Championships. In the NFL, the Lions failed to tank for a draft pick properly when they beat the Packers soundly 31-0. Back in college football, Michigan State took on Justin Herbert and the Oregon Ducks in the Redbox Bowl on New Years Eve. In the undisputed ugliest bowl game of the season, Oregon came out victorious 7-6 after Brian Lewerke and his coordinator Dave Warner failed to score a touchdown with a month to prepare. This left both major in-state programs with sour endings to the football season but basketball teams on a roll to end 2018.
2018 had quite a few memorable events in the sports world and although many established dynasties kept winning, many teams enter 2019 closer to their own dynasty, memories, and big moments.
Contact Me: [email protected]
Noah Housler is a Senior at Grand Ledge high school. This is his 2nd year on the Comets Tale staff. Noah is the news...
What are you doing this summer?
Hanging with Friends (56%, 5 Votes)
Recreation: Fishing, Camping, Hiking, etc. (22%, 2 Votes)
Playing a Sport (11%, 1 Votes)
Playing Video Games (11%, 1 Votes)
Total Voters: 9
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GL Archer Shoots for Glory
Spring Sports Preview 2019
ZionCenter
The Dawg Pound Bracket
Grand Ledge's Archery Teams Compete at the State Tournament
What is Really Fueling College Basketball?
Joe Brya is on the Job
Looking Ahead to March Madness
NBA Trade Deadline
Bye Bye Birdie
The Comets' Tale
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Billions come forward alleging non-consensual relationship with McDonald's
In what's being described as a McMe Too moment, billions of diners have come forward detailing years of gastro-intestinal abuse at the hands of fast-food giant McDonald's.
News of the removal of McDonald's CEO Steve Easterbrook over an alleged consensual relationship with an employee has prompted a flood of complaints against the fast-food company. Most detail an ongoing pattern of dietary abuse by McDonald's Corporation and its subsidiaries toward unsuspecting patrons.
"We would usually meet up in the mornings before work," described one victim who wishes to keep their identity private. "I tried to break it off several times but they keep luring you back."
Most of the complaints describe a persistent and systematic pattern of harassment where the individual is targeted in their home through the television or over the internet. "They don't take no for an answer. They even get you in your car. I see one of those billboards, and the next thing I know, I'm in the drive-thru lane ordering a McRib," said one man.
Scientific studies seem to lend credence to consumer complaints. One study found that just the sight of the iconic golden arches caused low-level activation of salivary glands in 72 percent of subjects tested. Traffic studies have shown that 23 percent of motorists passing a McDonald's will turn in and patronize the establishment.
Stories of extreme gastro-intestinal distress are not uncommon. "I spend about half an hour in the bathroom everyday after lunch," offered one man without prompting.
"The introduction of a Big Mac into the digestive tract appears to cause alarming levels of instability," offered nutrition expert Dr. Sheila Birdsong. "Let's not mince words here, the results can be literally explosive. The GI tract's response to the presence of a Big Mac is to expel it as soon as humanly possible. This can result in a number of undesired outcomes that can range from dehydration to public humiliation to lost time at work."
Employer's estimate they lose hundreds of billions of dollars due to lost productivity caused by frequent employee bathroom breaks, and many are pointing at McDonald's as the source of the problem. Some have even threatened legal action to end McDonald's predatory practices.
Author sguipePosted on November 4, 2019 November 4, 2019 Categories Mostly bullshitTags Big Mac, CEO, gastro-intestinal distress, GI tract, McDonald's, McRib, non-consensual, Steve EasterbrookLeave a comment on Billions come forward alleging non-consensual relationship with McDonald's
Cubs embark on ambitious 100 year plan to bring World Series title back to Chicago
Following the dismissal of Joe Maddon last month and this week's hiring of new skipper David Ross, the Chicago Cubs have positioned themselves brilliantly for a run at a World Series title in 2119.
In Monday's presser, Ross stressed accountability in his new role, impressing fans and building confidence that the wait to bring an MLB title back to the northside would last no more than a century. "Today we begin laying the groundwork that will serve as the foundation for what this organization does a decade from now, which in turn will provide the infrastructure for future decades of construction, culminating in a world championship sometime long after I've passed."
Cubs president Theo Epstein seemed to echo those sentiments. "They say 'Rome wasn't built in a day.' They say the pyramids of Egypt took decades to build and the Great Wall of China took centuries. Someday they'll say the same about the Cubs quest for a title. Wait a minute, I'm being told that story has already been written. Well, folks, get ready for the sequel."
Some reporters questioned Epstein's decision to let Maddon go. In response, Epstein explained, "Look, Joe was the perfect manager for the perfect time. But we want to look forward to a new time. The 2100s are going to require fresh thinking and a new approach. I just don't think Joe's going to be up to it. Plus, he probably won't be with us anymore."
Regardless, after Monday's announcement, a new spirit of hope and optimism seems to have pervaded the northside, built upon a recognition that a World Series title might now only be several generations away.
Author sguipePosted on November 1, 2019 November 1, 2019 Categories Mostly bullshitTags Chicago, Chicago Cubs, David Ross, Great Wall, Joe Maddon, pyramids, Rome, Theo Epstein, World SeriesLeave a comment on Cubs embark on ambitious 100 year plan to bring World Series title back to Chicago

redpajama_set_name: RedPajamaCommonCrawl


Address: Pista de las Palmitas, 5, San Sebastian de la Gomera (La Gomera), Islas Canarias.
Located within 3.4 km of Playa de la Cueva in San Sebastián de la Gomera, Apartamentos Casa Cathaysa provides accommodation with free WiFi. Some units also have a kitchen equipped with an oven. The apartment offers a terrace.
Please inform Apartamentos Casa Cathaysa in advance of your expected arrival time. You can use the Special Requests box when booking, or contact the property directly with the contact details provided in your confirmation. This property will not accommodate hen, stag or similar parties.


WLAO is pleased to announce that the 2017 WLAO President's Award will be presented to LEAF at our Annual Awards Gala on June 5, 2017. The 2017 WLAO General Counsel Chapter Award will also be presented to Doris Stamml, Chief Legal Counsel at Ernst & Young.
At the Gala, WLAO will present the 2017 WLAO General Counsel Chapter Award to Doris Stamml, Chief Legal Counsel at Ernst & Young. This award recognizes a member of the General Counsel Chapter for her leadership role and commitment to the success of women in law.
We will also present our 2017 lawyer and student awards including the Lerners LLP Elizabeth Grace Emerging Leaders Award, the new Honourable Sandra Chapnik Women-in-Law Award, the Avril Farlam Advocacy Award, the Aird & Berlis LLP Equality Award, and the Torkin Manes LLP Trailblazer Award.
We hope you can join us at our celebration honouring fantastic women and their remarkable accomplishments!
Click here to purchase tickets or a table – space is limited.


Sachs, Katherine. "Cézanne and Marden: The Almost Perfect Painting." In Cézanne and Beyond. Philadelphia: Philadelphia Museum of Art; New Haven: In association with Yale University Press, 2009, pp. 490–509. Exhibition catalogue.
Citation: Feilchenfeldt, Walter, Jayne Warman, and David Nash. "Sachs 2009b." The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. http://www.cezannecatalogue.com/literature/entry.php?id=814 (accessed on April 21, 2019).


The production of transgenic livestock has extended and improved classical breeding techniques. The objects of manipulation are individual genes rather than the entire genome of an animal. At the moment DNA-microinjection into the pronuclei of zygotes is still the most efficient and in pigs the only available technique of transferring genes. Transfer of genes involves collection, manipulation, microinjection, cultivation, and transfer of early embryos on the one hand. On the other hand molecularbiological techniques allowing cloning of gene constructs, preparation of suitable injection solutions, and techniques allowing detection of integrated and expressed transgenes in transgenic animals have to be employed. Gene transfer in pigs and other domestic animals is usually less efficient than in mice and yields approximately 1% transgenics per injected zygote.


In a paper entitled Spam-Double Funnel: Connecting Web Spammers with Advertisers , researchers at Microsoft and the University of California Davis show the path whereby the ads of legitimate web site owners come be shown on spam pages. The paper reported on Monday in a New York Times story Researchers Track Down a Plague of Fake Web Pages is to be delivered in May at the 16th International World Wide Web Conference in Banff, Alberta, Canada. The paper's methodology, finding and conclusions are of interest to search marketers.
For this paper the researchers focused on redirection spam (for examples of redirection spam) where Web pages redirect browsers to visit known spam controlled domains. Many of these redirection spam pages use pay-per-click advertising and frequently display ads from reputable advertisers. Many research papers on search spam are essentially descriptive seeking to categorize the various forms of search spam. This paper provides means for identifying not just how these redirection schemes work but points to who is involved in the schemes.
Spammers control the doorway pages and redirection domains, aggregators buy traffic from the spammers and sell traffic to the syndicators who in turn are paid by the advertisers for to display their ads. The system works both two ways.
For Layer #2 – the redirection domains The spammer domain topsearch10.com figured prominently and 209.8.25.150~209.8.25.159 IP block where it resided hosted multiple domains responsible for 22-25% of all spam appearances.
Layer #3 – the aggregators which the authors believe present the best target for attacking search spam and are a bottleneck. Two IP blocks 66.230.128.0~66.230.191.255 are responsible for the 100,000 spam ads in the sample (Aside — Talk about a bad neighborhood).
Layer #4 – the syndicators includes just a handful of ad syndicators who serve as middlemen for the majority of the spammers.
Layer #5 – the advertisers includes many well known reputable advertisers whose ads garner traffic funneled through the system. It is advertiser money that fuels the entire system.
The authors hope that their paper will help search engines strengthen their ranking algorithms and will provide impetus for advertisers to carefully scrutinize their involvement with syndicators and traffic affiliates.


Before going on the field, our coach would drill us! He would first explain today's tactics, moving little magnets on a black board designed like a mini soccer field. He would then build up the team's spirit and confidence by a powerful motivation speech… That's the emotional fuel, the very essence of a great performance.


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Mets ace DeGrom makes spring debut, heater hits 97 mph
Mets ace D...
PORT ST. LUCIE, Fla. (AP) - After one exhibition start, Jacob deGrom has a 9.00 ERA. No worries, because all other signs are positive for one of the top pitchers in the major leagues.
"Still plenty of time to hopefully get that down," the New York Mets ace said Sunday with a few laughs.
The reigning NL Cy Young Award winner tossed one inning and gave up Tyler White's RBI single on a 97 mph fastball in a 10-1 loss to a split squad of Houston Astros.
DeGrom allowed two hits and threw 14 of his 17 pitches for strikes.
The 30-year-old righty made his spring training debut after posting a 1.70 ERA season. Often throttled by a lack of run support, he went 10-9 for the fourth-place Mets.
Even after such a dominant season, deGrom isn't taking anything for granted.
"I was nervous today going out there for the first time," the lanky pitcher said.
DeGrom said he began playing catch in October just a few weeks after the season ended, keeping his arm active by tossing the ball with his father. He has thrown regularly in the offseason, just a couple of times a week, since taking more time off after the lengthy 2015 campaign because of the World Series.
DeGrom later developed nerve damage in 2016 and had season-ending surgery in September.
"I just feel like when I play more catch and k
"I just feel like when I play more catch and keep my arm moving it seems to feel batter when I come to spring training. If there's no break, maybe it will stay the same," he said.
DeGrom had a few obstacles a year ago that prevented him from getting the opening day nod from manager Mickey Callaway. DeGrom left camp to be with his wife for the birth of their daughter and then battled back stiffness after his return, delaying his progress even further.
Good friend Noah Syndergaard made the start instead of him and beat St. Louis in the opener.
DeGrom said his goal this year is to work on consistency and limit the running game better.
"I want to try and eliminate those starts
"I want to try and eliminate those starts that got out of hand. It's a little bit easier said than done," said deGrom, who allowed a leadoff double to Tony Kemp.
"I'm trying to keep the focus on the pitch I'm about to throw, not the pitch I've just thrown that was a homer or whatever happened," he said. "I was a little bit frustrated today. I felt like I made a pretty good pitch to Kemp there, a high fastball that he got to. That's frustrating. But it's constantly learning to try and let that stuff go."
Said Callaway: "He's poised to go out there and dominate again, in my opinion."
New catcher Wilson Ramos caught deGrom for just the second time this spring.
"It's an exciting moment for me because I'm trying to know him better," Ramos said. "In the beginning of spring training, everybody wants to attack the hitter. He did it today and did it very well."
NOTES: LF Tim Tebow nearly made a diving grab on a foul fly behind the Mets' bullpen after a long run, but the ball popped out of his glove when he landed. The next half-inning, he hit a long fly that easily beat Kemp in left, but center fielder Myles Straw made a spectacular diving grab in the gap for the out. ... Callaway called the catching position "an open competition" when it came to the backup spot and said Travis d'Arnaud needed to match up his footwork with his arm. ... Callaway said pitching coach Dave Eiland has a "solid plan" for new closer Edwin Diaz in terms of spring appearances.
More AP MLB: https://apnews.com/MLB and https://twitter.com/AP_Sports
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Putting things in perspective! | Physiotherapy Graduate.
← Day 1 of the rest of your life!
I'm a physiotherapy graduate from Grenada. I really enjoy your posts. Just wanted to know what the different band were I.e. 5 8 ect.
Sorry I don't understand the comment ?


And the deadline is nearing to apply for farmland preservation grants. County governments and non-profit groups pursuing farmland preservation projects can apply for funding assistance from the NC Agricultural Development and Farmland Preservation Trust Fund. Applications are due by 5:00 pm on December 17th. The trust fund's purpose is to support projects that encourage the preservation of qualifying agricultural, horticultural and forest lands to foster the growth, development and sustainability of family farms.
Roger Teeple of Black Mountain, N.C., is one of only six individuals nationwide who received the National Association of Agricultural Educators Outstanding Service Citation on November 30 at the NAAE annual convention in Atlanta. Teeple recently retired as an agriculture teacher at Charles D. Owen High School. In his time at Charles D. Owen, he has had numerous State and American FFA Degree recipients. The agriculture program has had 17 consecutive years of 100 percent FFA membership. This year there was a 10 percent increase in agriculture enrollment.
South Carolina closing cash grain bids on Wednesday; 2 Yellow Corn was 2 to 4 cents lower, 1 Yellow Soybeans were steady to 2 cents higher, 2 Red Wheat was steady to 11 cents lower, New Crop US 1 Yellow Corn had too few bids to trend, and New Crop US 2 Red Wheat was 2 to 11 cents lower.
Corn at Country Elevators—7.01 at Kingstree; 7.05 at Lynchburg; 7.41 and *6.47 at Estill; Processors—7.42 at Orangeburg 2; 8.20 at Monetta; 7.96 and *6.67 at Sumter; 7.41 at Cassett.
And finally…time is running out to vote in the United States Farmers and Ranchers Alliance 'Faces of Agriculture' campaign. Both North & South Carolina are represented in the 10 finalist. North Carolina's Bo Stone of Rowland, is a conventional farmer of row crops and his family's P&S Farms also have a pork operation. South Carolina's Eric McClam of Columbia is owner of City Roots, a three-and-a-half acre farm near downtown Columbia that focuses on organic fruit and vegetable production. To vote click here before December 15th.


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The End of Art (as we know it) (again)
or How I Learned to Stop Worrying and Love the Bored Apes
A prototypical Bored Ape. This one resides in M○C△'s Community Collection, courtesy of 0x87885aaeeded51c7e3858a782644f5d89759f245
Prologue: An Admission of Guilt
This is not the piece I wanted to write. This is not the piece I wanted you to see.
I wanted to write about how the Bored Ape Yacht Club (BAYC), and the many Profile Picture projects (PFP's) it spawned, were the collective Trojan Horse that would wheedle Contemporary Art World tastemakers –-their hierarchies and impossible criticism and exclusivity– into the world of Crypto Art, hitherto a hotbed of free creativity and community, pure, self-sustaining, and egalitarian. Bored Ape Yacht Club, I was sure, would destroy it. And I wanted that on the record.
I wanted this piece to be suitably vicious. I wanted to let loose unassailable points and contentious questions, all part of a larger assault on prototypical BAYC holders, their smug grins and smelly maleness and unquestioning adherence to an outdated status quo of wealth. These mostly male millionaires who could only imagine using their profits in the most pompous possible way: with exclusive yacht parties, $800 hoodies, public boasting about their membership in a prestigious club, one everyone wants to be in, one you want to be in too, but you can't, ah-hah-ha, because you aren't them.
Only I couldn't write that piece, even though I wanted to. Because it wouldn't be accurate in the least. Because the premise is utter bullshit, an unfair overreaction at best.
And so, this piece is nothing like what I wanted it to be. I didn't ever want to venture into the personal. I didn't ever want to be so goddamn understanding, even flattering. I didn't want to start with soap, either. But alas, the best laid plans of mice and men and monkeys…
Act I: Soap
It's the Swingin' Sixties, and everyone –Mom and Pop and little Spot too *arf arf*– is head over heels for America's favorite Soap-Pad: Brillo! The Only Soap Pad with 99 Squeezes! (This is the greatest ad I've ever seen)
In 1964, Brillo Pads were an omnipresent product, their ubiquitous boxes bedecked in red, white, and blue, the perfect patriotic symbol for an America post-Korea but pre-Vietnam. Brillo boxes filled supermarket shelves, they filled the space under the sink, and in 1964, they began filling up the multi-part Manhattan studio space of one Mr. Andy Warhol.
Brillo's boxes, specifically, became Warhol's obsession. He had hundreds of exact plywood replicas made, stacked them in his studios, and slowly sold them to whomever saw the "art" in his deliberately-shameless commercial recreation. It took some time for the art world to properly fawn over them, but because Warhol was already Warhol by then, fawn they soon did. Today, they're peerless collectors items, with one recently selling at Sotheby's for over $3,000,000.
But before the mass adoption, the enthusiastic "Yes!" to the question "Is this art?", the fine art world had to decide en masse whether some underlying requirement of aestheticism or intent was needed for something be considered quote-unquote "Art," or whether a plywood Brillo box, a discolored print of Marilyn Monroe, a Campbell's Soup Can, whether any of that was "Art" in the way of the masters: Kahlo, Bacon, Picasso.
The answer was, again, yes. It took only Warhol's influence to transcend each box beyond commercialism, transforming them indelibly into art. And if everything could be art, then everything could be art, so long as it was accepted as such. As long as it had that same ineffable artist's "touch." Within a decade, Contemporary Art speculators would be stumbling over themselves trying to dictate just which art was "important." Because if they succeeded in doing so, they stood to make lots and lots of money, and become very, very cool.
This conversation, however, wasn't new. In the 1860's, for instance, the prestigious French art studio Le Salon publicly denigrated Paris' new wave of Impressionist painters — no-talents like Monet, Degas, Renoir, Morisot, Sisley. They didn't fit old conventions; theirs wasn't art. Ditto critics in 1917, who saw Marcel Duchamp's Fountain — the disconnected, porcelain urinal — as more smut than art. But history has demonstrated time and again that every restriction placed upon art is ultimately reductive and unnecessary. Anything is art so long as it's accepted as such.
Fountain by Marcel Duchamp. Photograph by Alfred Stieglitz.
The important questions: Who needs to accept it? Who gets to decide?
In the current Contemporary Art landscape, so long as something is deemed important by influential tastemakers, surrounded with high-falutin commentary (which critics line up to supply), and sells for spectacular sums, it becomes artistic canon. Any artist can be made a master by mere consensus. And if that means alienating the public by building an impenetrable ivory tower of exclusivity, excess, and aggrandizement around the entire art world, so be it.
Take the case of Jean-Michael Basquiat, for instance, the painter and graffitist whose works, some thirty years after his death, have sold for as much as $110,500,000. Stephen Metcalf, writing for the Atlantic, explored Basquiat's legacy in his brilliant piece "The Enigma of the Man Behind the 110-Million Dollar Painting." Metcalf says, "In the 30 years since Basquiat died of a drug overdose, in 1988, at the age of 27, the prices of his work have climbed steadily upward, taking some astonishing leaps along the way."
Metcalf quotes the writer/activist/thinker bell hooks (RIP), who "attended a 1992 retrospective of [Basquiat's] work at the Whitney Museum, in New York," and said:
"I wandered through the crowd talking to the folks about the art. I had just one question. It was about emotional responses to the work. I asked, what did people feel looking at Basquiat's paintings? No one I talked with answered the question. They went off on tangents, said what they liked about him, recalled meetings, generally talked about the show, but something seemed to stand in the way, preventing them from spontaneously articulating feelings the work evoked."
The gist being, in Metcalf's words, "[Standing] before Untitled, [the $110,000,000 painting]…a common initial response — that the art is slapdash, tender, true — feels wrong somehow, as if we haven't gotten it…In front of the painting, we fear we have seen or felt too little, especially given the $110.5 million price tag."
Every time I read this passage, I think of my father.
Recently, my grandparents sold their house and moved full-time to Florida. In that transition, my parents inherited some pieces of wall art, including a large, tremendously green print of Marc Chagall's, Paris L'Opera le Plafond de Chagall, which now overlooks my father's desk, giving him something to gaze at during long days of insurance brokerage. I asked him recently if he liked the piece. He said he did. I asked what about it he liked. He wouldn't say.
Literally wouldn't. And it wasn't that he didn't have an opinion, but that he felt his opinion wasn't sufficient. He liked it, was all. He liked the colors, but wasn't able to speak about "what it means" or anything like that. I started yelling at him, something like, "But that's plenty! That's as valid an appreciation for art as anybody!" He shook his head. He couldn't believe it.
Literally couldn't. My father, along with what I imagine is an overwhelming portion of the population, would see something like a nine-figure sale for Jeff Koons' Balloon Dog (orange) and think not that the sale itself is illogical, but that he must just be unable to see the logic therein. There must be something wrong with him.
And that, THAT, is the great shameful consequence of Contemporary Art.
Influential Contemporary Art figures -–collectors and auction houses, the many critics and "thinkers" who peddle self-important groupthink over genuine appreciation — have created a deliberately intimidating framework around the entire art world, one which compels many to shy away from interacting with Art altogether. Why go to a stuffy, sterile art museum, or shmy around a gallery, or read a book about the Surrealists, or purchase art oneself, when the layperson has been made to believe that they can't appreciate art anyways: They lack the intelligence perhaps, the education, or a discerning eye. "Art" isn't for them. It's for the metropolitan. The coastal elite. Ivy Leaguers and bankers and industrialists. Them. The only way to make sense of a Basquiat piece — from all appearances a child's paint experiment on canvas (which, in fairness, is the mysterious allure of Basquiat's art) — selling for the price of a private island in the Bahamas, is if something is wrong with us.
Which, I'd argue, is a crucial reason why art of all forms has fallen out of vogue. Fine Art, literature, arthouse film, modern dance. The more self-referential and difficult the lauded works become, the less audiences feel compelled to interact with them, because that interaction only reinforces their own feelings of ignorance. But these kinds of works are the ones which are institutionally rewarded, which are labeled products of "genius," which garner huge sales and prestige. Such works turn mere artists into capital-A Arteests. And everyone wants to be an Arteest. Otherwise, well, you're just an artist.
Call me a romantic, but I'd argue that this defeats the whole purpose of art. Art should be an outstretched hand. It should say, "Come with me, I want to show you something." Art should commune. Art should be shared. It doesn't have to be positive, per se, it can be disgusting and heart-wrenching and vile and traumatizing, all of that is fair game, but it can't be pedantic or self-superior or sniggering. Because then it's just masturbation. And (almost) nobody wants to see that.
Fortunately, art history is a series of fuck-ups and responses. Contemporary Art is slowly fucking-itself towards a self-styled extinction. It has been for 50 years (talk about edging). But now, finally, a response: Crypto Art, with all the hallmarks of an ensuing revolution.
Act II: Crypto Art
I met Shivani, Director of the Museum of Crypto Art, on a beach in Asbury Park, New Jersey. I was, at the time, an unemployed writer who'd recently sunk a few bucks into the burgeoning Solana NFT movement. We got to talking.
Three months later, I joined M○C△ as Lead Writer, and have since been learning as much as possible about the Crypto Art space, about its figures of import, its institutions, its history, its nuances.
Where my own knowledge lacks, I know enough to cede the floor. The following is taken from a thread posted on Artnet's Twitter page by one of the space's most decorated collectors, Cozomo de' Medici (who, I'm aware, is polarizing):
Medici said, "In the last decade, we saw a great shift in entertainment. For almost 100 years, the studios decided which actors would be lucky or talented enough to become stars. But then in the 2000's…the cameras turned from focusing on actors, to everyday people…Instagram. YouTube. Podcasting. Social media goes mainstream. As people turned the cameras and microphones on themselves, the studios became powerless…those who used both social & reality tv, like Rogan & the Kardashians, built empires.
"…We are seeing a similarly sized shift beginning to happen in the art world. For hundreds of years, kings, queens, and noble folk decided which art was relevant…But around 2018, a new paradigm began. In NFT, there are no museums. No galleries, other than the marketplaces, and the galleries made by collectors themselves.
"…YOU can decide which artists will define this generation. YOU can access their art before they get big. YOU can make them big, by voting with your wallets…Or simply displaying them as your twitter profile photo…A talented artist in a remote village…can now build a global following and international community around their work. Not by getting a museum show — but by producing great art, and cultivating a community."
While Medici's rose-colored perspective was not without pushback (@Hughcreates laid out how "the general trend from slow, considered art forms…to quick consumptions hasn't exactly been of benefit to culture." Elsewhere, and to great effect, @Stellabelle dissected the entire concept of the community-minded millionaire.), it succinctly sums up what so attracts me to Crypto Art: its egalitarian nature, its decentralization, its shareability, its relative ease of entry, its encouragement of community.
The Crypto Art world is not without its own brand of price pumpers, market manipulators, and tastemakers -–the main Crypto Art marketplace, Superrare, invites artists on their platform and censors others, which is asking for trouble, although the Trash Art movement shows how, even when tastemakers in the space overextend, the larger community can rectify the situation — but, importantly, it defies physical loci of importance. There's no Paris, no New York, no mandated acquiescence to Sotheby's or Christie's. The market is being made, evolved, reinvented in real time by everyone engaged with it. And that's unprecedented.
Because any old Twitter timeline can be turned into an art gallery. Follow the right folks, and you see art. Good art. Incredible art. Constant art. And artists. Artists discussing art. Artists discussing their art. Artists discussing other artists. Artists discussing other artists' art. This whole brave new art world is right there, exposed, encouraging us to step in and look around, not hidden away in expensive exhibitions or SoHo penthouses or guarded galleries.
Much of this stems from Crypto Art's lack of connective tissue to the Contemporary Art World. It was built separately, in parallel, by those whom the traditional markets have never made space for: digital artists, artists from marginalized communities, generative artists, those uninterested in artistic conformity.
Like the artist SamJ, who identifies as gender non-binary, and who told me,
"I find it funny, all those people who shit on NFTs, who say 'Why don't you sell prints or do commissions. You can be an artist without selling NFTs'…Can I though? Look at my art. I build my art in Unreal Engine in front of green screens, a mix of real and digital fashion, in AR. How the fuck am I supposed to do that without NFTs?"
SamJ's latest work, Feeling Like an Orchid
Or take one of the space's (and the world's) most successful artists, Hackatao, who, "…were born in 2007 as digital artists, but at that time it was difficult in Italy to have a market if you didn't decline [art] on a physical medium…to in a way render the digital flat and static on the canvas, so it would lose its digital nature."
Removing Crypto Art from its digital homeworld –and indeed, so much Crypto Art is referential to blockchains, Web3, and social media– would, at least partially, destroy it.
Thus, there's an inherent introspection within Crypto Art, which has fomented the rise of quirky, uber-talented artists who play purposefully outside the Contemporary Art World's boundaries of subject matter and taste, freed by Crypto Art's lack of physical and conceptual boundaries. Prolific teenage artists like Erinbeess or Fewocious. The Nigerian artist, Osinachi. These are not the Contemporary Art World's chosen saviors. They don't want to be. Their art is expressive, personal, meaningful to them and their friends and their collaborators, not panderingly self-aware, not endlessly responsive to the carousel of criticism that occurs behind closed doors, in Art magazines, at Upper East Side dinner parties.
Perhaps because of this, Crypto Art was neither supported nor accepted by mainstream art outlets. It wasn't supported or accepted by anyone outside the community, really. Even when, in March of 2021, the entire NFT ecosystem poked itself out into the mainstream, NFTs were treated as little more than a fun, noteworthy blip to be discussed bemusedly. Crypto Artists like Beeple and Pak became internationally noted names boasting eight-figure sales, but Jim Cramer still torched NFTs on Mad Money. CryptoPunks, the OG PFP-project minted for free in 2017, were selling for millions, and The Daily podcast deigned to do an NFT episode. ESPN published an article about NBATopshot –NFT basketball cards– unironically titled "'This Is The Future," but it was all ever just fun…innocent hyperbole.
NFTs were having a little moment, but one which would assuredly recede, as every other Crypto quirk had done before. Few, I suspect, would have predicted that the April 23rd appearance of 10,000 cartoon monkeys on the Ethereum blockchain would capture the zeitgeist as they did. 10,000 pictures of cartoon monkeys, and the whole world starts losing their minds. Paying attention to NFTs became mandatory.
Act III: 10,000 Pictures of Cartoon Monkeys
Fuck the industrialists, CEOs, and Saudi Princes who've historically collected high-priced art, the Bored Ape Yacht Club prides itself on a flashier clientele. Attractive, influential, popular (male) celebrities –Steph Curry, Rudy Gobert, Lamelo Ball, Jimmy Fallon, Post Malone, Lil Baby, Logan Paul, Marshmello, Steve Aoki, Snoop Dogg, Eminem, and Future– all hold and flaunt a Bored Ape; it's key to the project's success. Simply by owning a BAYC NFT and making it their Profile Picture, these influencers have helped elevate the project beyond mere art collectible; after all, kids don't aspire to just be rich anymore, they aspire to be cool. And BAYC makes people cool. Like Virgil Abloh sneakers, like anything branded Supreme, BAYC is a hypebeast's wet dream, an excuse for holders to emulate the lavish, lux, loud lifestyles of the obviously wealthy.
A lifestyle without fear, without limit, without consequences. Jessica Klein, in her fantastic piece about BAYC for InputMag, noted,
"Around 11 p.m. the night before Halloween, staff at the Bright Moments art gallery in downtown Manhattan hear what sounds like a pack of wild apes howling outside their windows. Turns out that the commotion is caused by about 15 grown men who've just flown in from Las Vegas. They're hooting demands for wristbands that will get them into an exclusive yacht party the following evening."
The animalism. The fearlessness. Individuals with big dreams and no previous path to upward-mobility, suddenly exposed to a life of wealth and grandeur they had assumed was off-limits, which was off-limits. Anyways, they're rich now, and they want you to know it. They want you to know exactly where their money came from. How to tell the whole world at once? Easy: make it your Profile Picture.
BAYC, and the PFP movement in general, operates on the presumption that you don't only have to be what you are, you can be what you own. Flaunting certain PFPs –BAYC or CryptoPunks chief among them– gives you instant clout within the NFT community, legitimizing your views, conferring on you a certain importance, and denoting your commitment to the space –after all, you were either an early adopter, or just shelled out a cool 250k, at least, for one of these bad boys.
Naturally, copycat projects proliferated. And each new PFP-project brought further far-flung individuals into the NFT space, people seeking big flips and 100x gains, purchasing this or that PFP in the hopes that it'd become what many projects promise to: the next BAYC.
And thus, into the NFT ecosystem bursts tremendous amounts of money, tremendous amounts of attention, and tremendous influence freely given to any individual with sufficient purchasing power. Rereading that sentence back, it's no surprise I thought BAYC would usher the Contemporary Art World into NFTs; these are its hallmarks. For argument's sake, the top five PFP-projects by all-time sales volume (according to nonfungible.com) –BAYC, CryptoPunks, Cool Cats, CyberKongz and Meebits– have accounted for over $4,000,000,000 in all-time sales. And that's just the top five! Four of which aren't even a year old!
There would inevitably be blood spilled when investors and status-seekers, smelling a burgeoning billionaire's market, clashed with the long-term builders, those putting money and time and creativity into Crypto Art, DeFi, P2E games, the metaverse, all these facets of the revolutionary Web3 technology of which PFPs are merely a fraction. And I wasn't sure Crypto Art could survive a war like that. Few things can. Fewer have.
Three PFP-projects in M○C△'s Community Collections: CrypToadz, Cool Cats, and Doodles (courtesy of Shankashark.eth, 0xcc6846a5f709850845900d8b134258fcc23bf7f6 and 0xb69e7f59cb8bb0e1ba5487864a33572acb5467f9. respectively)
I brought my apocalyptic mindset to a few highly-respected Crypto Artists: Hackatao, LuluXXX and SamJ. Surely, they'd agree that the PFP movement would kill Crypto Art, that it was bringing in bad actors and bad money, and in gobbling up everything in their path, PFPs would inevitably consume all the innovative institutions and inventions that helped make Crypto Art such a haven for progress, equity, and creative freedom.
Surely, this is what these smart, accomplished, thoughtful artists were going to do. They were going to tell me I was right.
Act IV: Smart, Accomplished, Thoughtful Artists Tell Me I'm Wrong…
…And they waste no time doing so.
"I don't really believe the narrative of 'pfp steal money from $cryptoartist.'…Actually I think the idea is to do what the fuck you want to do here. So why not pfp?" So said LuluxXX, the vaunted artist and collector after I had asked a leading question like, "So, you don't think PFP's are inherently bad?" After the above answer, Lulu added,
"I think collectibles bring you back to your childhood. I was collecting everything: stamps, Disney figures, cans of coke, cigarette packets, vinyl records, etc. etc. etc. Now if a bunch of white male guys think they own the space because they have [A Bored Ape], they can go fuck themselves. But I didn't see proof of that personally."
Our conversation was the first I'd have for this piece, which meant Lulu (sorry) received the brunt of my misconceptions and misjudgments. Chief among them? I hadn't considered PFPs from any other position than my own, that of a straight, white, American man.
"I see people from the south flipping some of my pieces for less than 1 Tez (5 dollars). Imagine to people there what flipping collectibles means. I have friends from Argentina, Philippines, etc. buying their food with this…Meanwhile its creating an economy. And maybe Africans, Latin-Americans, etc. are making money with it. Why not?"
Poorly as it reflects on me now, it took my conversation with Lulu to understand that I had been seeing PFPs from a limited, privileged perspective, so very male and American. I was worried solely about the world of Crypto Art, ignoring the fact that, big as that world may be, the actual world is much bigger.
Hackatao, with whom I spoke next, would soon be releasing their own PFP-project, Queens+Kings, so they had PFPs on the brain.
"In the traditional art world," they said, "…many acquire works for status purposes…If you look as far back as the renaissance, the best artists would have the richest, most famous, renowned families, the kings or the Pope, to commission works and buy works from them…and if we think back, would that tell us maybe something about human nature? Has it always been like this?
So is this a scheme? Or is this a behavior of ours that is being…mirrored infinitely in the new world of art?…If we think of it as predators that want to solely invest, there's also another way to think about it. We can think of collectors [as those] who use their monetary power to sustain artists. Hackatao remembered something that Jason Bailey [Artnome] said…That [this money] is very welcome because it would give the artists more creative tools and possibilities to give something back."
If Lulu smacked me with a new perspective, Hackatao led me into one gingerly, one where PFPs could allow an artist's work to be a profoundly personal part of their admirers' everyday lives, all while pushing an artistic boundary as Warhol did. Perspectives. I hadn't considered the artist's either.
"It is an era where we live with multiple lives," Hackatao said. "You have your own physical self and your digital presence and all of what you curate that to be. So to identify with a piece of art this closely…where these [PFP] avatars are used, it's a very interesting phenomenon. To work on a pop project as such, it gives Hackatao a chance to deconstruct this world through art-making and better understand it."
Hackatao's Art Disorders from M○C△ Permanent Collection
But artists do not dream in monochrome, so to speak. They occupy a broad spectrum of identity, success, awareness, intensity, and opinion. SamJ, for example, oscillated all along that spectrum during our conversation, vibrating on every recognizable frequency: fury, optimism, depression, enthusiasm, exhaustion, elation, frustration.
"I'm the first performance artist on Superrare, I'm the first drag queen on Superrare, I'm still the only drag queen on Superrare…My collectors are some of the top collectors in the space — like Gisel Flores, [Fewocious], Hackatao…Matt Kane…Sarah Zucker…If you look at my track record, it's really, really, insanely reputable, but if you look at my sale prices and the amount of attention I get from high-level, top collectors, 33, or Vincent van Dough, or Cozomo Medici…it's crickets."
Sam had opinions aplenty. They came pell-mell. They spared nobody. "A lot of the collectors in the space right now are honestly really bad," he said off-handedly. "They have no taste and no education, and they don't know what the fuck they're buying. And they're only buying things because their pals are bumping the prices up…They don't actually know or understand what they're buying."
SamJ wasn't going to gingerly show me shit. If he had a perspective to share, it was wholly, inimitably his own. In a lot of ways, I think SamJ is quintessentially emblematic of Cypro Artistry itself:
An artist whose identity is central to their work: "I was really into drag and fashion, and being nonbinary, I use my gender to express myself a lot."
An artist whose success is tied intrinsically to Crypto Art: "My work is only relevant in the art world because it can be sold as an NFT. There's no fucking way, no way, any of my work would be seen as legitimate work if it weren't for NFTs."
An artist who has accepted reality's ugliness: "I'm not delusional. I don't expect most of these cis [collectors] to relate to my extremely queer, extremely trans art the same way they do to a shiny, bald 3D astronaut, but…I'm at the point where it is getting a bit ridiculous. You can't actually be ignoring me at this point. My work is extremely notable."
All of which makes Sam's eventual prophesying that much more potent. Our conversation was nominally about PFPs, sure, but inevitably freewheeled into a larger examination of the space. And when I finally asked Sam whether he was optimistic about Crypto Art's future, I was expecting negativity, doom-and-gloom, frustration.
But Sam was staunch. "I'm definitely optimistic [about Crypto Art's future]. I think there's a lot of BS that happens in the space, and a lot of dumbasses and collectors who don't know what the fuck is going on…But like at the same time, where are you supposed to go? Where am I supposed to go?…I think it's going to get better. But I think it's also important to be aware of what's actually happening, and why it's happening, and what's going on. I don't know the answer…. I really don't…I think the best way to go forward is to worry about your own."
SamJ's vision didn't deny or sugarcoat the difficult realities of being a moderately-successful artist in a space where tastemakers have already started coming to crown their kings. But like he said, "Where am I supposed to go?" The Crypto Art world is filled with such nomads, outcasts, singular souls. And it's been, to this point, a willing refuge.
In hindsight, I suppose I came to these artists hoping they'd offer the framework for some kind of utopia, a place where artists like Hackatao could create freely, one with endless room for anonymous artists like Lulu, nonbinary artists like SamJ, sex workers like Cryptonatrix, a place situated on an altogether separate continent from where BAYC's PFP empire would rise and inevitably fall.
But these smart, accomplished, thoughtful artists made me realize I was being naive. They made me realize I was wrong.
Act V: Ego Death
Inescapable facts of life. Here's one: the Contemporary Art World, one way or another, will worm its way into Crypto Art. That isn't BAYC's fault. It isn't. The BAYC is simply innovating in their own way. Minting millionaires on-demand is innovation in and of itself. Inspiring a veritable wave of imitators, propelling into existence an entire economy for digital identity, engendering a new wave of questions concerning what it means to be anything, these things are long-term, vital rethinks of Web3's ability. BAYC doesn't run the world (as some holders seem to believe) but they did that. And that's quite a lot. More than most.
LuluxXX showed me how, as movements like PFPs proliferate, and as speculators sink money into them, the wise can find ways to claim that wealth for themselves. It's a new revenue stream, one which frees "being in the right place at the right time" from the constraint of physical geography. Ignorant, ignoble money may flood into the space, probably will flood into the space. It's what the space does with that money that will matter: whose hands it ends up in, whether it's dispersed or hoarded, with what sense of equity.
LuluXXX's Hollywood Accident from M○C△'s Permanent Collection
Hackatao, meanwhile, were adamant that PFPs are a brand-new artistic expression, into which a human soul can enter and live out their fantasies, a true communion between artist and audience. This kind of connection with an artist's work is next frontier, where an audience can not only experience an artist's creation, but be that artist's creation.
And SamJ seemed certain that Crypto Art wouldn't wither away so long as artistic communities internally supported each other. "I remember talking to ErinBees," Sam told me, "and Erin flipped something for like dozens of ETH while talking to me on Discord and then bought my piece…Claire Silver bought my latest work, and she had a bunch of these notable collectors like Mr. 703 and Cozomo Medici buy like three of her pieces for like 15 ETH each……and because of that…she had a fuck ton of liquidity to then buy my art."
Expecting the Crypto Art space to be perpetually perfect is unrealistic. It never was –ask an OG, they'll tell you. But because it remains a potentially prosperous path for artists in a world with far too few, and because it has the unique, pre-established infrastructure to guarantee an amount of visible community oversight, it may just be able to bear the weight of any external worlds which are unfortunately sloughed off upon it.
Market forces looking to anoint their next financial savior will try to do so. Money sniffs out money. Money lusts for money. There's no "winning" against those forces in the sense that they can be endlessly warred with and kept away. To win is not to vanquish them. To win is to not be consumed by them. To go on creating, encouraging, building. That's a pretty good goal.
Hackatao told me, "Time passes very rapidly in this world; they feel like it's been 40 years not 3–4 that they have been on the blockchain." Hell, in just the time I've spent writing this piece, monumental shifts in the PFP world have occurred. Apes flipped Punks. Punks are ceding cultural relevancy to Phunks! PHAYCs! Grifters! Gazers! Look at the words I'm using! The lexicon is literally being invented in real time!
Hackatao told me, "No matter how these circles move, no matter where the interests shift, no matter where the capital is and who would like to invest in what, [artists will] make use of the technology that has been made available to us…Noone should take for granted that ever since the exposure and success of the space it means that it is already all set in stone and concrete."
If there's one truth to glean from the last century of art, it's that everything ends, and quickly. Movement, response. Movement, response. Perhaps, here, we take our cue from the artists who define the space, and we stop fearing every potential apocalypse. If they come, they come. And they'll come. So be it. There will be a response.
And those assumed inadequacies of ours? Those inferiorities r.e art and culture and appreciation? They ultimately have as much power as we allow them. There's never been an alternative to their hegemony before, but now, with all this beautiful online art smack in our faces, with the realities of the ancient art world laid bare, it may be easier to call out Contemporary Art bullshit for what it is: bullshit. Oh man, doesn't it feel good saying that?
In Crypto Art, we are much more inclined to experience art as it's presented to us, be that in an online museum, on Twitter, or on the wall above my father's desk. No frills, no inadequacy, no bastardization. "Negativity has no place here. Nobody survives here with negativity," Lulu said. That could be Crypto Art's mantra. The only thing to do is keep building, keep creating, keep responding, let Contemporary Art nonsense tucker itself out. It will; and those Basquiats will end up in better hands eventually. Once again echoing Lulu's words:
"The idea is to do what the fuck you want to do here."
Well, I want to go look at some good fucking art. I want to look at it all the time. And I want my father to come with me.
Finally, here, all the way at the end, I can get what I want.
By Maxwell Cohen
Thoughts? Ideas? Find us here: https://forum.museumofcryptoart.com/
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(JaiChai) "Kachina" — Original Digital Art
"Róta" — Original Digital Art


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tag_cast

Metafunction defining a type being either the specified tag, or one of
          the specified basetags if the type inherits from them.

          Description

          Tags can inherit each other. A multi_point inherits, for example, both
          the multi_tag and the pointlike tag. Often behaviour can be shared between
          different geometry types. A tag, found by the metafunction tag, can be
          casted to a more basic tag, and then dispatched by that tag.

          Synopsis

template<typename Tag, typename BaseTag, typename BaseTag2, typename BaseTag3, typename BaseTag4, typename BaseTag5, typename BaseTag6, typename BaseTag7>
struct tag_cast
{
  // ...
};

          Template
          parameter(s)

<colgroup>
<col>
<col>
<col>
</colgroup>

                    Parameter

                    Default

                    Description

                    typename Tag

                    The tag to be casted to one of the base tags

                    typename BaseTag

                    First base tag

                    typename BaseTag2

                    void

                    Optional second base tag

                    typename BaseTag3

                    void

                    Optional third base tag

                    typename BaseTag4

                    void

                    Optional fourth base tag

                    typename BaseTag5

                    void

                    Optional fifth base tag

                    typename BaseTag6

                    void

                    Optional sixth base tag

                    typename BaseTag7

                    void

                    Optional seventh base tag

          Header

          Either

          #include <boost/geometry/geometry.hpp>

          Or

          #include <boost/geometry/core/tag_cast.hpp>

Note

            The specified tag list is handled in the specified order: as soon as
            a tag inheriting the specified tag is found, it is defined as the metafunction
            typedef type.

Note

            If none of the specified possible base tags is a base class of the specified
            tag, the tag itself is defined as the type
            result of the metafunction.

          Complexity

          Compile time

          Example

          Check if the polygon_tag can be casted to the areal_tag

#include <iostream>
#include <typeinfo>

#include <boost/geometry.hpp>
#include <boost/geometry/geometries/polygon.hpp>
#include <boost/geometry/geometries/point_xy.hpp>

namespace geo = boost::geometry;
int main()
{
    typedef geo::model::d2::point_xy<double> point_type;
    typedef geo::model::polygon<point_type> polygon_type;

    typedef geo::tag<polygon_type>::type tag;
    typedef geo::tag_cast<tag, geo::linear_tag, geo::areal_tag>::type base_tag;

    std::cout << "tag: " << typeid(tag).name() << std::endl
        << "base tag: " << typeid(base_tag).name() << std::endl;

    return 0;
}

          Output (in MSVC):

tag: struct boost::geometry::polygon_tag
base tag: struct boost::geometry::areal_tag

Copyright © 2009-2013 Barend Gehrels, Bruno Lalande, Mateusz Loskot, Adam Wulkiewicz

        Distributed under the Boost Software License, Version 1.0. (See accompanying
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redpajama_set_name: RedPajamaGithub


text:
Cinema Feature
The Talented Mr. Hoffman
Philip Seymour Hoffman, on his way to The Loft, talks about everything from 'The Bad News Bears' to kissing Mark Wahlberg
By James DiGiovanna
Philip Seymour Hoffman at The Loft
May 13-15; various times
$7.50-$10 individual screenings; $30-$40 all screenings
795-7777 or loftcinema.com for tickets and full schedule
This weekend, Philip Seymour Hoffman will be in Tucson to show some of his films, answer some questions and host a fund-raising dinner for The Loft. Tickets for all events are available at The Loft, including--and especially--a Saturday morning showing of The Bad News Bears, introduced and hosted by Mr. Hoffman.
TW: Is it OK if I misquote to make you look anti-American?
PSH: Yes.
Great. This week, at The Loft, you'll be hosting screenings of Magnolia, Almost Famous, Owning Mahowny, Talented Mr. Ripley and Bad News Bears. So, seriously, The Bad News Bears?
Well, I picked The Bad News Bears, because I think it's fun. And I didn't want all the films to be me. I feel weird enough showing that many films of mine. When we were picking the films, I was flipping through the channels, and Bad News Bears was on. That's the kind of movie you fall upon every few years somehow--at least I do--and I just think it's one of the great films. I just can't get over how amazing it is every time I watch it. And I don't think they make movies like that anymore.
What do you think sets it apart from modern films?
It's a film that they try to remake all the time. It's like one of those films that was made so well, and they've been trying to capitalize on the success of that film since. It's kind of like the first Rocky movie.
Rocky?
Yes, Rocky is an art film about something commercial. And that's what Bad News Bears is; it's an incredibly believable film; it's shot extraordinarily well; it's wonderfully acted; and the writing is superb. It's really moving, and it's truly funny, and it's all those things that you want films to be that come out of Hollywood. And I think that you rarely see a film like that. These days, you're not going to see Walter Matthau driving in a convertible with the top down drinking a beer and smoking a cigar with a bunch of kids in the car. That wouldn't be happening in a Hollywood movie. But it also seems to me a really strong difference between then and now, in films coming out of Hollywood, and I do think it's a film that speaks of an era that's gone.
An era of filmmaking, or an American era?
An American era. It's about my childhood. Adults drank a lot more; they smoked in front of you. It was a different time. Drinking beer in the car and driving wasn't as big an issue in 1975. Those kinds of behaviors were more of the norm when I was a kid, if I recall. And now we live in a much more PC world. A lot of those things are shunned for very good reasons, but there was a certain laissez-faire attitude about all that stuff back then, and so, how that story unfolds, and how adults treat children and children treat adults in that film is really ... it's really appalling! It's appalling, and you still find humor in it, and you also find a lot of drama in it, and both of them work. I just think the movie's amazing, and I just don't think it would be made today. Now we're living in a day and age, if you don't make $100 million with a big-budget film, you're a failure. That's kinda awful.
What about the films you're in ... why did you pick Magnolia, Almost Famous, The Talented Mr. Ripley and Owning Mahowny?
For the diversity. I think there's a diversity in character; I also think there's a diversity in filmmaking, ranging from a really hard-core independent style, to a kind of broader commercial picture. Those were really the two criteria: diversity of filmmaking and diversity in characters.
On that diversity of character: You're a very studied actor ... if you saw Keanu Reeves at a party, what tips would you have for him?
I don't think there's anything Keanu doesn't know. I heard he went and played Hamlet at some theater once, and I see the things he does, and it's like, he's just another actor struggling to try to get better. And I am, too. I just don't get into that "he's someone to put down" kinda thing. Acting's a really hard thing to do, after all, and some people, I think, do it easier than others. But I do think that some people get better, and I also think some people do take it seriously, and I have a feeling he's somebody who probably does, that he struggles like everybody else to try to do it well. But if I saw him, I'd probably ask him for tips, to be quite honest, my friend. I'd be like, "So, how did you get in that first Matrix movie? How'd you swing that?"
But you're not aiming at a blockbuster, apparently.
No. But ending up in one is not a bad thing. I get offered them, and I'll say no if I don't like the part. But there are those opportunities that are worth taking, like the Matrix--I like that movie. So I'd ask, "How'd you get that job?"
You'd have been good as Neo. So, of the TV show remakes, which part have they offered you: Epstein, Wojo, Schneider? Father Mulcahey? They offer you Father Mulcahey?
Cat Woman.
Oh, you'd be a great Cat Woman!
I don't think I was actually offered that, though.
So now that you're like a big Hollywood star, is your typical day: You wake up, kick the 17-year-old starlet out of bed, yell at your staff until they bring you the roasted baby seal, that sort of thing?
No, no, mine right now is sitting here watching my 14-month-old son babble his way across the room, and my girlfriend being mad at me because I'm working too much at the theater (laughs). That's my life right now.
Do you feel like you get typecast at all?
Yes, I feel like sometimes people see me in certain ways like that, but it's not really a problem. I just say "no" if I don't want to take a role. And that's hopefully what this thing will be about at The Loft, with the different characters in Magnolia as opposed to Owning Mahowny as opposed to Almost Famous as opposed to Talented Mr. Ripley. In that one, my character has a lot of rage, but he's educated and savvy and clever. But his rage is not any less. And his aggression and his self-assuredness, his confidence and his behavior are very different, from, say, the character in Magnolia. That's the point of the choice of the movies, is that as an actor, you can really try to do a lot of things you want to, and work in a lot of different styles with a lot of different directors and stories and periods. That's really one of the joys of the profession I'm in, is that you gotta really make those decisions to make that happen.
You made a documentary, The Last Party, about the 2000 presidential election. What did you learn from that?
I made that documentary more for myself and people like me--meaning people who want to learn more about what goes on. You're dealing with the campaign, and watching nominees running for president, how to follow it and inform yourself and really know what's going on, and all the places you can go and look to learn those things. (You) become somebody who actually gets excited by the voting process and doesn't feel alienated from it or distanced from it, and learn from the mistakes and be aware of them to make a healthier choice. There's nothing in there that anyone doesn't know. And if somebody doesn't know, they should find out. If you're not interested, then you're missing out. So pick up a paper and read it; go online; go to the rallies that you hear about; hear the information; subscribe to some periodicals that some other people don't read; get The Nation, pick up your free newspapers that are going to be a little more radical than the next. That's all I'm interested in, is that people are interested in that kind of thing, whether it's conservative or liberal, at least know what you're talking about. If you don't, be curious to know.
And what's it like to kiss Mark Wahlberg?
It's fun. Yeah.
Not a bad kisser then?
No, no ...
Where would you like to see American films go now?
I don't know. I just know that I think it's a good time right now. I think you're really seeing right now the big-budget Hollywood films faltering because of the success of the films that aren't like that. I think you're seeing people like Spike Jonze and those people that have come in--Paul Thomas Anderson, Coen brothers, directors who have come in over the past 10 years who really staked a claim in the commercial big-budget market with very independent artful fare, and made that another option. It's not a given that a big-budget movie with big stars is going to make the money. Doesn't seem to be happening the way that it used to, through the '80s and even through part of the '90s. So what I'd like to see is more of what's happening, and if you're gonna make that film, that big ol' commercial film, make it like Bad News Bears.
Like, with a real script?
Yeah. Bad News Bears is so believable. I watch that movie and I feel like I'm 10 again. There's sprinklers going on, and the cut lawn, and how wonderfully believable those kids are, and how awful they are. It's just fantastic.
So they're willing to show something a little disturbing, I guess.
Well, no, I don't think it's even disturbing, I think it's just a certain amount of truth. You know, truth gets cut out for the benefit of a story, or not to offend people. The film's not disturbing; the film's just incredibly truthful. The film deals honestly with the fact of what it's like to be a child in the suburbs involved in Little League. It's really competitive. Adults get really nasty when that happens. It's true, and it's part of our world, so why are we gonna be so shocked by it? I think it's the exact opposite of disturbing; it's heartwarming. That film ends up being incredibly heartwarming.
And you think we would lose a lot of those elements because the studios are worried about offending someone?
I think so. I think you're not going to see a big-budget film with an adult drinking a beer, smoking a cigar, with the top down, and five kids in the car. That ain't happening today unless it's in independent fare. That's not going to come out of a major studio.
James DiGiovanna
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text:
Where Religion, Philosophy and Demographics Meet
Because most philosophies that frown on reproduction don't survive.
Towards a Conservative Christian Writer's Manifesto
It's 2017, and one of my plans for the new year is to sit down four nights a week to bang out words on The Great War, Volume Two. I expect to begin posting installments some time this month.
As I've been researching and outlining, I've also been giving a certain amount of thought to the broader question of what it means to be a writer who is a conservative Christian, and why it is that we conservative Christians seem to be pretty thin on the ground in the arts. The following is a brief attempt to sketch out that thinking into a manifesto of sorts on how and why Christians should approach art, necessarily in the context of writing since that is the only area I can claim to have knowledge of.
The foremost purpose of fiction is to tell the truth. Not, obviously, in the sense of only describing things that have actually happened, since fiction, even when describing real events, involves making up details, but rather in the sense of describing people, experiences, choices, and consequences in a manner which reflects the true nature of the human condition.
Perhaps this sounds rather sober and heavy duty. Can't fiction just be fun? Can't it show us fantastic worlds far from where we live now? Of course it can. The realism which I'm encouraging here is not necessary a pedestrian realism (though I think that the small scale dramas of everyday life deserve more attention than they get) but rather the realism of showing people, whether in a Cleveland suburb or in a galaxy far, far away, reacting to experiences and making choices in a way which seems real. This basic realism which allows us to recognize and identify with the characters is part of what allows the story to seem enjoyable to us. If we cannot recognize the characters to some basic degree as seeming like real people, we don't get to participate in the story and enjoy their unfamiliar settings or adventures.
Many Christian writers seem to suffer from a temptation to focus heavily on Conveying The Big Truths. This often comes out in the form either of showing a very neat sort of conversion story, in which exposure to Christians and their arguments leads to conversion which in turn leads inevitably to happiness, or in massive (sometimes literally apocalyptic) clashes between good and evil in which at last good wins out completely, resulting in the birth of a better world.
Do these sort of stories, however, really reflect truth? Perhaps in some sort of very basic, words-on-the-page sense. That five-page theological argument that the earnest young heroine has with her bad-boy love interest, resulting in his total conversion, may accurately describe in written phrases the theological concepts in question. But how true to life is it that one or two theological arguments result in a conversion? How true to life is it that a conversion, however attained, results in someone's life and relationships immediately coming together into complete happiness? How often does a conflict, however bad the enemy, result in a new era of peace and blessedness?
Arguments often do not lead to conversion. Changes in life are often difficult and come with reverses as much as obvious improvements. Titanic conflicts leave many lingering wounds and successor conflicts, both internal and external.
If as Christians we are committed to the truth, including the truth about lived human experience, our fiction should reflect these less neat realities. If we develop and resolve the stories we write with a sort of pat wishfulness, we create a distance between our writing and any reader who does not share our ideas of wish fulfillment. Readers who don't fully share the author's view will think, "Oh, that's a Christian story. It doesn't reflect my experience," while even readers who do share the author's ideas will simply have their illusions and desires reinforced rather than having to face the full reality of the world.
Not only does wish fulfillment do poor service to our Christian duty to truth, but in our own beliefs we actually have a much more compelling source for potential dramatic material. If we take Christian ideas of virtue and vice seriously, then everyday actions, far from being uninteresting or trivial, can have eternal consequences. The way we treat each other, the small acts of selfishness or generosity, the chance encounters with strangers and the casual kindness (or cruelty) with which we treat those we see everyday -- all of these gradually form us into someone with a habit to the good, or a habit to the bad. This is one of the things that I've come to find very compelling about Tolstoy's writing in War & Peace. While the books is packed with huge, world-shaping events (and occasional whole chapters of historical philosophy which I wish had just been cut) the characters' development arcs are shaped not by these big historical events but by seemingly trivial actions: the way in which old Prince Bolkonsky can turn something as seemingly innocent as his woodworking hobby into a means of psychological warfare against his daughter; the way in which Prince Andre's aloofness and unwillingness to forgive even the smallest transgressions, such as the 'silliness' of his socialite wife, gradually builds into a cancer on his relationships with all his loved ones; the way that Pierre's kindness and lack of decision interact to define all the events, big and small, in his life.
A Christian understanding of sin and virtue naturally lends itself to this kind of moral realism in fiction, and this same moral realism, in which every decision a character makes forms that character for good or ill, creating their character development throughout the story, makes for interesting drama because drama is based on change.
This is what I believe Christian fiction writers should commit themselves to: to realistically portraying the decisions and experiences that people have, and to showing the way in which all of these seemingly small choices shape character in eventually big ways. This is the kind of writing which can quietly convey a Christian understanding of how the world works, and can do so in a way that is interesting to readers whether or not they share the author's beliefs, because stories about character choices and change, realistically portrayed, are inherently interesting to us as humans.
Posted by Darwin at 8:00 AM
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Reading For Believers
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The Posts I'm Not Writing
The Great War, Vol 2: Chapter 1-1
Becoming Truly Literate
The Army's New Modular Handgun
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Lo, a Baby
Conservatism Even In Service of Radicalism
The Government vs The President
The Immediate Book Meme
Simcha Fisher
What will a Biden presidency look like? That's largely up to us.
One playoff win in my 51 years on the orb.
The Wild Wind is Roaring
Travels with a Donkey
Dr. Boli's Celebrated Magazine.
DEAR ST. AUGUSTINE.
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A Snowman Straight Out of Miyazaki
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Light and Momentary
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Yard Sale of the Mind
Scientific Paper Format: Some Stuff to Know
Eve Tushnet
Love in a Time of Bug-Like Behaviors: Short movie notes
Gaudium et Spes 22
The Hermeneutic of Continuity: Part II. Pope Francis, Vatican II, and the Neo-Traditonalists
How would Saint Remy have handled Joe Biden?
Zymurgia House
Letters from Armorica: Absences (24 June 37 AF)
The TOF Spot
Ancestor hunting.
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Booknotes from Literacy-chic
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Sister Teresita and the Spirit
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With the Catholic News sites discussing the Vatican's move to reform the LCWR, I pulled this slim volume written back in 1986 off the shelf to re-read. It's a quick and amusing read: a satirical view of the breakdown and renewal of reli...
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I'd never read any Henry James before, though I did see the Nicole Kidman movie adaptation of Portrait of a Lady some years ago because... well, because it was a costume drama with Nicole Kidman in it. This was one of those novels I ...
If you, like me, have been reared on tales of the second World War as the just and virtuous struggle of the "greatest generation", Evelyn Waugh's arch novels (based loosely on his own war experiences) are an important and darkly enjoyabl...
This was the first time in some years that I've re-read this Austen novel, one of the quieter and shorter ones, but one which has ranked among my favorites. It was striking me, on this pass, that it rather shows the effects of having be...
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Brian, Carl, Dennis Wilson, Mike Love and Al Jardine - known as Beach Boys, rocketed out of a working-class Los Angeles in the early sixties. In a few short years, they rode the wave all the way to the top, standing with the Beatles as one of the world's biggest bands. But they were beset by drug abuse, jealousy, and terrifying mental illness.


text:
Q: The TTL is not changed in the ICMP packet I use the SOCK_RAW to create the socket.
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      {
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I use the setsockopt to set the ttl in the packet, and then capture the packet through wireshark. However, the ttl in the packet is still 1. The getsockopt

int ttl = 0;
while(ttl < MAX_TTL) // MAX_TTL is 56
      {
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            {
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                  exit(1);
            }
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            {
                  perror("Error");
                  close(sockfd);
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            }
            if((ret = recvfrom(sockfd, recv, BUFFER_SIZE, 0,(struct sockaddr*) &remote_addr,(socklen_t *)&addr_len)) < 0)
            {
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                  if(ret == EWOULDBLOCK || ret == EAGAIN)
                  {
                        printf("time out\n");
                  }
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            ICMP_packet_upack(recv, ret);
            sleep(3);
            //break;
}

The platform is macOS, and use clang to compile.

redpajama_set_name: RedPajamaStackExchange


Even if you can't find a way to enjoy the raspy yet soulful crooning of Rod Stewart, I think you'd be hard-pressed to disagree with that statement. Words, while sometimes delightful to the ears, can only do so much to express things. In my truly humble opinion, abstract ideas such as love, happiness, family, friendship, etc. are best understood and shared through pictures . . . and even more thoroughly through moving pictures.
It's hard to put the concept of Woodloch into words. Our veteran guests already know it. New guests will soon know it. And pending guests need to know it. It is said time and time again: you need to experience it to fully understand what we're all about. We've known this for some time and have made multiple attempts over the years to convey our product into an accurate visual presentation. Yet no matter how "nice" or "clean" our videos were, there was still something missing.
After researching our "product," King sat down with our Commander-in-Chief, John Kiesendahl, for a candid interview. And I do mean CANDID. The story of Woodloch involved a lot more hardship than I ever thought there was. The Kiesendahl family had to pull it together and bond in order for the resort to flourish.
And of course, what would a video production be without seeing our guests in their natural element? So largely unbeknownst to them, Chris took his camera and headed out to capture what Woodloch is really all about. Smiling. Laughing. Hugging. And completely forgetting your stresses and troubles. EXACTLY what we are going for when you first walk through the doors of our main lobby.
As an employee of well over a decade, to me this was the first production that really captured the essence of our business. And many around me agreed to that point. So it was very easy for me to jump in to action in assisting with the second piece that Endless Echo was tasked with. On an exceptionally sunny and warm October afternoon, King set out to film a wedding taking place at the Inn at Woodloch, but probably not in the sense that you'd imagine.
The real premise of our video was to show what happens "behind the scenes" at a Woodloch Wedding. Rooms must be decorated. Candles must be lit. Centerpieces … centered. And above all, wedding catastrophies must be averted at all costs. Luckily, our staff is well-trained and battle-tested, making sure each wedding goes off without a hitch. And this dedication was what we captured for our second feature.
While we are a resort and a business, there's a very human nature to the hospitality industry (as long as you're doing it right!). So to see Cara Stokowski, one of our event coordinators, genuinely care that a groomsman's suit needs tidying, is not in the least bit out of character. Little things like that all add up; and in the end, the little things end up being the really big things.
I personally enjoyed hanging out and "assisting" with the wedding video, but to say that anything that the film captured surprised me would be a stretch. I know this business pretty well, but these clips have been the most honest, open, and accurate representations of our business ever produced (outside of our guests' home videos, of course!).
Again, words are words. Take them or leave them; believe them or don't. I think you will find that some things absolutely need to be experienced. But I will leave you with something that comes pretty close to it anyways.
The Story of Woodloch Pines – Uniting Our Family; Uniting Your Family. from Woodloch Pines on Vimeo.
Woodloch Weddings from Woodloch Pines on Vimeo.


text:
namespace {

// Add paths here to be included in chrome://chrome-urls (about:about).
// These paths will also be suggested by BuiltinProvider.
const char* const kPaths[] = {
  chrome::kChromeUICacheHost,
  chrome::kChromeUIChromeURLsHost,
  chrome::kChromeUICrashesHost,
  chrome::kChromeUICreditsHost,
  chrome::kChromeUIDNSHost,
  chrome::kChromeUIFlagsHost,
  chrome::kChromeUIHistoryHost,
  chrome::kChromeUIIPCHost,
  chrome::kChromeUIMemoryHost,
  chrome::kChromeUIMemoryInternalsHost,
#if defined(OS_ANDROID) || defined(OS_IOS)
  chrome::kChromeUINetExportHost,
#endif
  chrome::kChromeUINetInternalsHost,
  chrome::kChromeUINewTabHost,
  chrome::kChromeUIOmniboxHost,
  chrome::kChromeUIPredictorsHost,
  chrome::kChromeUIProfilerHost,
  chrome::kChromeUIQuotaInternalsHost,
  chrome::kChromeUISignInInternalsHost,
  chrome::kChromeUIStatsHost,
  chrome::kChromeUISyncInternalsHost,
  chrome::kChromeUITermsHost,
  chrome::kChromeUITranslateInternalsHost,
  chrome::kChromeUIUserActionsHost,
  chrome::kChromeUIVersionHost,
#if defined(OS_ANDROID)
  chrome::kChromeUIWelcomeHost,
#else
  chrome::kChromeUIBookmarksHost,
  chrome::kChromeUIDownloadsHost,
  chrome::kChromeUIFlashHost,
  chrome::kChromeUIInspectHost,
  chrome::kChromeUIPluginsHost,
  chrome::kChromeUISettingsHost,
#endif
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  chrome::kChromeUIDiscardsHost,
  chrome::kChromeUIDriveInternalsHost,
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  chrome::kChromeUIOobeHost,
  chrome::kChromeUIOSCreditsHost,
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  content::kChromeUIMediaInternalsHost,
  content::kChromeUINetworkViewCacheHost,
  content::kChromeUITracingHost,
  content::kChromeUIWebRTCInternalsHost,
};

}  // namespace

bool WillHandleBrowserAboutURL(GURL* url,
                               content::BrowserContext* browser_context) {
  // TODO(msw): Eliminate "about:*" constants and literals from code and tests,
  //            then hopefully we can remove this forced fixup.
  *url = URLFixerUpper::FixupURL(url->possibly_invalid_spec(), std::string());

  // Check that about: URLs are fixed up to chrome: by URLFixerUpper::FixupURL.
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         !url->SchemeIs(chrome::kAboutScheme));

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  if (!url->SchemeIs(chrome::kChromeUIScheme))
    return false;

  std::string host(url->host());
  std::string path;
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  if (host == chrome::kChromeUIAboutHost)
    host = chrome::kChromeUIChromeURLsHost;
  // Replace cache with view-http-cache.
  if (host == chrome::kChromeUICacheHost) {
    host = content::kChromeUINetworkViewCacheHost;
  // Replace sync with sync-internals (for legacy reasons).
  } else if (host == chrome::kChromeUISyncHost) {
    host = chrome::kChromeUISyncInternalsHost;
  // Redirect chrome://extensions.
  } else if (host == chrome::kChromeUIExtensionsHost) {
    host = chrome::kChromeUIUberHost;
    path = chrome::kChromeUIExtensionsHost + url->path();
  // Redirect chrome://settings/extensions (legacy URL).
  } else if (host == chrome::kChromeUISettingsHost &&
      url->path() == std::string("/") + chrome::kExtensionsSubPage) {
    host = chrome::kChromeUIUberHost;
    path = chrome::kChromeUIExtensionsHost;
  // Redirect chrome://history.
  } else if (host == chrome::kChromeUIHistoryHost) {
#if defined(OS_ANDROID)
    // On Android, redirect directly to chrome://history-frame since
    // uber page is unsupported.
    host = chrome::kChromeUIHistoryFrameHost;
#else
    host = chrome::kChromeUIUberHost;
    path = chrome::kChromeUIHistoryHost + url->path();
#endif
  // Redirect chrome://settings
  } else if (host == chrome::kChromeUISettingsHost) {
    host = chrome::kChromeUIUberHost;
    path = chrome::kChromeUISettingsHost + url->path();
  // Redirect chrome://help
  } else if (host == chrome::kChromeUIHelpHost) {
    host = chrome::kChromeUIUberHost;
    path = chrome::kChromeUIHelpHost + url->path();
  }
  GURL::Replacements replacements;
  replacements.SetHostStr(host);
  if (!path.empty())
    replacements.SetPathStr(path);
  *url = url->ReplaceComponents(replacements);

  // Having re-written the URL, make the chrome: handler process it.
  return false;
}

bool HandleNonNavigationAboutURL(const GURL& url) {
  std::string host(url.host());

  // chrome://ipc/ is currently buggy, so we disable it for official builds.
#if !defined(OFFICIAL_BUILD)

#if (defined(OS_MACOSX) || defined(OS_WIN)) && defined(IPC_MESSAGE_LOG_ENABLED)
  if (LowerCaseEqualsASCII(url.spec(), chrome::kChromeUIIPCURL)) {
    // Run the dialog. This will re-use the existing one if it's already up.
    chrome::ShowAboutIPCDialog();
    return true;
  }
#endif

#endif  // OFFICIAL_BUILD

  return false;
}

std::vector<std::string> ChromePaths() {
  std::vector<std::string> paths(kPaths, kPaths + arraysize(kPaths));
  std::sort(paths.begin(), paths.end());
  return paths;
}