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iPhone 4 prototype surfaces on eBay: A+++ condition, would buy again

And with that, the tradition continues. Every year or so, it seems that an iPhone prototype of some description manages to find its way onto eBay, and just over a year after the first iPhone 4 prototype made its way into public view , the precious item you see above is now available on a public auction site. To our knowledge, this is the first iPhone 4 prototype to be offered for sale on eBay — at least from someone who actually appears to be legitimate and in possession of the device he / she claims to own — boasting an etched ‘DF1692′ label in the lower right, omitted volume button markers and a mysterious ‘XXGB’ label around back. Unfortunately, we’re told that it can’t be activated through iTunes, and popping in an AT&T SIM did the seller little good. ‘Course, at $810 and rising, we highly doubt such trivial matters will deter collectors from ponying up. Hit the source link to get your bid in — you know, before Apple’s henchmen convince Mr. Donahoe to pull the plug. iPhone 4 prototype surfaces on eBay: A+++ condition, would buy again originally appeared on Engadget on Sun, 03 Jul 2011 18:25:00 EDT. Please see our terms for use of feeds . Permalink

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Framing the Debate: This Week Paints Constitutional Debate As Pro-Life

Click here to view this media (h/t Heather at VideoCafe ) It’s an insidious thing, framing the debate. And too often, people watch the Sunday news shows without doing the meta-analysis necessary to evaluate the truthfulness or accuracy of the information being presented to them. They don’t look at the partisan or ideological bents of the invited guests; they don’t consider the assumptions made the framing of questions. It never occurs to them that the media is trying to lead them to a specific point of view, even if it’s not necessarily the one you actually hold. I noticed this little bit of framing in the intro for This Week’s roundtable discussion of the Constitution. It’s just a small part of a larger intro, but it’s very telling in the way that ABC News views the abortion debate. Go to 1:47 of the intro. Here’s the other way we’ve long tended to treat the Constitution — as wrapping paper, as in wrap yourself in it to make your case sound even better type of wrapping paper, to put a nice bow on it. Which is really nothing new. Every case that ever gets to the Supreme Court gets there because both sides argue they have the Constitution on their side. Richard Nixon, refusing to give up his tapes, said the Constitution protected him. He lost. Folks that want to burn the American flag say the Constitution protects them. They generally win. People who argue the Constitution protects the unborn have yet to win their battle. Hold on…what was that? “Have YET to win their battle”??? Um, no. They lost that battle. It was called Roe v. Wade and the Supreme Court decided that an actual born woman’s right to privacy and determine medical procedures on her body superseded any potential (and nonviable) life forms. That is the law of the land, Republican attempts to thwart it notwithstanding. But so kind of ABC News and John Donvan to frame it as an still existing battle on behalf of the anti-choicers.

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4th Of July 2011: 20 Of The Best Books From Independent Presses You Should Know About (PHOTOS)

Last year on Independence Day we launched an intense focus on indie presses, and continued that attention throughout the year (see for example here, here, and here). This year again we bring you some of the most exciting established and emerging voices, both in the realm of literature and cultural/political criticism. You will find, underneath the slides, substantive discussions of the book, the author, and the press. Our Independence Day feature last year focused on indie literary presses, and picked up university presses for later coverage. There seems little reason to maintain this distinction, since the lines blur considerably–university presses publish some of the most interesting poetry and fiction, and nearly all of the literary criticism, and publish books in a wide range of genres with elegant literary writing. They do much of the worthwhile translations of literature from foreign languages, and they approach many social and political issues with a humane–we might call it literary–approach. The myth needs to be laid to rest once and for all that university presses publish only scholarly books targeted to specialized audiences; that is simply not how the best of the university presses operate these days. (Oxford, Duke, MIT, California, and Columbia University presses definitely belong on this list too.) The small press world is not immune to insularity and obscurity; literary missions take on a life of their own past a certain point of maturity, and it is important to break the mold from time to time in order to keep the energies vital and the writing ahead of the times. I’ve talked about the over-reliance of poetry presses on the contest model, but New York Quarterly Books, with which this feature leads off, breaks the pattern and offers an example of a different vision for poetry publishing in the twenty-first century. In addition, while there’s too much poetry being published, if one searches carefully, there are notable talents like Kathleen Ossip (Sarabande Books) and Benjamin Paloff (Carnegie Mellon University Press), among younger poets, to revive hope for a public poetry. Immigrants may be the last people in the country not yet benefiting from the general movement toward dignity and human rights; recently Jose Antonio Vargas told his story of being an unauthorized immigrant while excelling in journalism at the national level; his story is all too common, and the stereotype of the law-breaking, welfare-sucking, border-crossing immigrant who is a net drain on the economy needs to be vigorously refuted so that a rational debate on the benefits of open immigration can take place; such a debate hasn’t started yet, but a book like New Press’s Living “Illegal” at least makes a start. Publishing, if it is to survive in the future, is going to have to radically alter its structure and become reader and community driven, operate with a flattened hierarchy, diffuse its energies to the local level, and take advantage of the increasing globalization of reading/writing. This won’t happen all at once, but presses like Red Lemonade are at least making a move in the right direction. We hope this discussion of the country’s leading-edge indie presses gives you a sense of the present state of literature and social commentary, and that you will support these presses–along with your favorite indie booksellers–to keep the literary enterprise free and democratic.

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4th Of July 2011: 20 Of The Best Books From Independent Presses You Should Know About (PHOTOS)

Last year on Independence Day we launched an intense focus on indie presses, and continued that attention throughout the year (see for example here, here, and here). This year again we bring you some of the most exciting established and emerging voices, both in the realm of literature and cultural/political criticism. You will find, underneath the slides, substantive discussions of the book, the author, and the press. Our Independence Day feature last year focused on indie literary presses, and picked up university presses for later coverage. There seems little reason to maintain this distinction, since the lines blur considerably–university presses publish some of the most interesting poetry and fiction, and nearly all of the literary criticism, and publish books in a wide range of genres with elegant literary writing. They do much of the worthwhile translations of literature from foreign languages, and they approach many social and political issues with a humane–we might call it literary–approach. The myth needs to be laid to rest once and for all that university presses publish only scholarly books targeted to specialized audiences; that is simply not how the best of the university presses operate these days. (Oxford, Duke, MIT, California, and Columbia University presses definitely belong on this list too.) The small press world is not immune to insularity and obscurity; literary missions take on a life of their own past a certain point of maturity, and it is important to break the mold from time to time in order to keep the energies vital and the writing ahead of the times. I’ve talked about the over-reliance of poetry presses on the contest model, but New York Quarterly Books, with which this feature leads off, breaks the pattern and offers an example of a different vision for poetry publishing in the twenty-first century. In addition, while there’s too much poetry being published, if one searches carefully, there are notable talents like Kathleen Ossip (Sarabande Books) and Benjamin Paloff (Carnegie Mellon University Press), among younger poets, to revive hope for a public poetry. Immigrants may be the last people in the country not yet benefiting from the general movement toward dignity and human rights; recently Jose Antonio Vargas told his story of being an unauthorized immigrant while excelling in journalism at the national level; his story is all too common, and the stereotype of the law-breaking, welfare-sucking, border-crossing immigrant who is a net drain on the economy needs to be vigorously refuted so that a rational debate on the benefits of open immigration can take place; such a debate hasn’t started yet, but a book like New Press’s Living “Illegal” at least makes a start. Publishing, if it is to survive in the future, is going to have to radically alter its structure and become reader and community driven, operate with a flattened hierarchy, diffuse its energies to the local level, and take advantage of the increasing globalization of reading/writing. This won’t happen all at once, but presses like Red Lemonade are at least making a move in the right direction. We hope this discussion of the country’s leading-edge indie presses gives you a sense of the present state of literature and social commentary, and that you will support these presses–along with your favorite indie booksellers–to keep the literary enterprise free and democratic.

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Casey Anthony sobbed and glared this morning as the prosecutor painted a picture of her as a devious liar who opted to kill her only child so that she’d be free to go clubbing. “Something needed to be sacrificed, that something was either the life she wanted or the life…

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Switched On: webOS wherever

Each week Ross Rubin contributes Switched On , a column about consumer technology. This week’s release of the HP TouchPad , the first device other than a handset to feature webOS, aptly demonstrates the promise and perils of HP’s adopted operating system. The 4:3 tablet provides the large canvas that webOS seemed born to cover. However, like the Xoom and PlayBook before it, the TouchPad suffers from an impoverished app library among other holes. To help share development costs of webOS and expand the market for its developers, HP has warmed to the idea of licensing the Palm-developed operating system. HP’s willingness to license webOS while continuing to make devices based on the operating system serves up a healthy helping of d

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4th Of July Recipes

Gwen Stefani Wants to Live Without Regrets! Black Clover Fitness – Healthy 4th of July Recipes 4th of July Flag Cake Recipe WholeFoodsBoca says: Tomorrow our store will be closing at 8pm, but until then…check out our Best 4th of July Recipes : http://bit.ly/lsAr4n

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Lego iOS 5 Jailbreak With Limera1n iPhone iPod Touch And iPad BEST VIDEO EVER(funny) Lovee_Cienna says: Tool lost his iphonee 4 & his money yessterdaaay , on a upsidee down rideee at a amusement park . -_-

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Justin Timberlake And Pharrell Cruise Into Game’s “Ain’t No Doubt About It” Video

“Ain’t No Doubt About It” isn’t exactly the full LP of new music we demanded from Justin Timberlake, but for now, we suppose it’ll have to do. The Social Network star and creative director of Myspace linked up with yacht enthusiast Pharrell on Game’s “Ain’t No Doubt About It,” and in the black-and-white video, the … More » Broadcasting platform : YouTube Source : Idolator Discovery Date : 03/07/2011 02:06 Number of articles : 3

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Lord Patten targets ‘toxic’ executive pay to restore public sympathy for BBC

BBC Trust chairman hints at reducing number of managers earning above £150,000 and adoption of Hutton pay proposals Lord Patten, the BBC Trust chairman, has signalled that the corporation would address what he called a “toxic” public relations problem by cutting the pay of some of its most senior executives. In an interview on BBC1′s Andrew Marr Show, Patten hinted that the number of managers earning more than £150,000 would be reduced as part of a series of announcements designed to show the BBC was responding to the need to cut public spending. He said he would be taking up some of the proposals in the recent report by the Work Foundation’s Will Hutton into pay in the public sector. Patten spoke as it emerged that the BBC pays 19 presenters, actors and journalists more than £500,000 a year. The figures will be published in the corporation’s forthcoming annual report. Patten focused on executive pay rather than the salaries paid to onscreen stars. He said this was the biggest issue for the BBC because “what’s happened does seem to fly in the face of public service ethos”. The forthcoming announcement would cover four issues, Patten said. “First of all there’s the pay level at the very top; secondly there’s the number of people who get more than £150,000; thirdly there’s the number of people who are deemed to be senior managers; and fourthly there’s the whole issue of fairness across the board, with senior managers getting some deals which don’t apply to others. “We can deal with all that and if we do so, we will deal with one of the most toxic reasons for the public’s lack of sympathy with the BBC as an institution, even though they like enormously what it does.” Patten said he was particularly interested in the “very good ideas” in Hutton’s report on public sector pay, which rejected a suggestion that top pay in public sector bodies should be capped at 20 times median pay in the organisation. But Hutton said pay multiples should be published, any increase in the figure should be explained publicly and executives should receive some of their salary as “earn back” pay that would only be handed over if certain targets were met. Patten indicated he would adopt some of these recommendations. “I would like the BBC to be the first organisation in the public sector which actually gets into implementing some of Will Hutton’s ideas,” he said. Patten said the BBC was “a fantastic organisation”, but it should “take out a lot of costs” and learn to live within its £3.5bn budget. “Everybody is having to pull in their belts and I hope we can pull in ours while producing high-quality programmes still,” he said. The corporation’s annual report will publish the most detailed analysis of stars’ pay in the corporation’s history. It will not reveal the salaries paid to presenters, nor will it identify individuals, but the annual accounts, which will be unveiled next Tuesday, will show the number of performers who fall within a series of pay brackets. The corporation will confirm that since the departure of Jonathan Ross, who was reputed to earn £6m a year, it pays no performer more than £5m. Salary information for what the BBC terms its “top tier” of talent – those paid more than £1m a year – will be revealed. Attempts to force top presenters to take salary cuts, as well as the defection of Adrian Chiles to ITV, are understood to have brought the total paid to seven-figure stars down by £2.3m to £14.5m. The highest paid is thought to be Graham Norton, who banked a talent fee of £1.5m from his production outfit So Television, according the company’s latest accounts. He was also paid a dividend of £500,000 from the company’s profits, which include non-BBC activities. But the BBC will not reveal how many stars it pays more than £1m, citing data protection legislation. “We have had to aggregate the numbers from £500,000 upwards to prevent the individuals being identified,” a BBC source said. “This is based on strong legal advice. Our lawyers believe that if we break that number down any further there will be jigsaw identification and we will be in breach of our confidentiality obligations.” The total spent on presenters and performers has fallen for the second year running, dropping to £213m from £222m in 2009-10, according to figures seen by the Guardian. When performers who earn less than £100,000 are excluded from the equation, the numbers are also down, from £68m to £65m. Mark Thompson, the BBC director general, will use the figures to claim the corporation is making progress in its pledge to drive down talent costs. He is expected to point to the new hosts of The One Show, Matt Baker and Alex Jones, as examples of how the BBC is developing new presenters, but will nevertheless pledge that the corporation will still invest large amounts to draw in the best performers. BBC Lord Patten BBC Trust Executive pay and bonuses Television industry Television Andrew Sparrow guardian.co.uk

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