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His adventures filled thousands of tapes as tech evolved It ended in June after more than 30 years and 8,000 segments, but continues as a long-form monthly podcast under the same name. He then turned his attention to producing Pulse of the Planet, a daily radio program that brought hundreds of public and commercial stations two-minute segments of soundscapes and interviews mostly focused on science, nature and culture. He produced You're Hearing Boston and You're Hearing San Francisco before broadening out to You're Hearing America and, for several years in the 1980s, Sounds of Science. Metzner continued to focus on those sound-rich moments over the years, even as the scope of his work broadened from local to national to global. Metzner interviews Kate Jackson and Elliot Gould during a film shoot at Harvard Yard in Cambridge, Mass., in 1977. Here it is.' And it was, like, handing it to me on a platter." And it was the microphone and the recorder that said, 'Wake up. "But it wasn't a coincidence - this stuff was happening all the time, I just hadn't been paying attention to it. What an extraordinary coincidence,'' he recalled. "And I was going like, 'Wow, this is amazing. Metzner recalled pushing the red button and hearing a veritable symphony: a couple walking and talking nearby, a bicycle riding through gravel, a bird flying overhead, bells in the distance. Metzner's career began with a moment of realization in the 1970s, when he first ventured onto the campus of UMass Amherst equipped with a stereo recorder, microphone and earphones. "Whereas many recordists focus entirely on a single subject - nature, music or science - Metzner's recordings convey a full spectrum of human experience accompanied by the vast array of sounds from the natural world." Metzner collects poignant moments on a global scale "They include soundscapes of every description from around the world and interviews with scientists, artists and indigenous peoples," Matt Barton, curator of recorded sound at the library's National Audio-Visual Conservation Center, said in a statement. Metzner has shared those sounds with many listeners over the years, mostly through radio programs including his own nationally syndicated series, Pulse of the Planet, which aired daily from 1989 until earlier this year. You receive something extraordinary, the first thing you want to do is say, 'Oh my God, listen to this! Let me share this with somebody!' " "Right from the get-go, I never felt that I was capturing anything. "Sometimes you hear people say, 'You know, I captured this sound' and 'I captured that sound,' " he adds. He sees his job as listening to sounds, not capturing them, as he told NPR's Morning Edition in a recent interview. Jim Metzner has spent nearly five decades documenting and sharing the sounds of the world, from immersive portraits of American cities to indelible moments with people and wildlife in places as varied as Alaska, Australia, Japan, Greece, Cuba, Nepal and Morocco. ![]() While he's honored that they will be archived, he says he wants to make sure people actually listen to them. The Library of Congress has acquired the life's work of radio producer Jim Metzner, who has spent decades traveling the world to capture rich soundscapes. ![]() ![]() ![]() Hi, this is extremely interesting as you started in Draenor, our perspectives of the game is extremely different, so it's a valuable conversation. At the end of the day WoW is just a skinner box, but repeating the same content 4 times on progressively harder difficulties does a terrible job of hiding it. Sure, I could spend time gearing up to go back for normal, heroic, and maybe even mythic, but it just feels so much more artificial. The last 2 expansions, I've queued for LFR, killed all the bosses, and then I lose motivation. Nowadays, you can step into LFR after a few weeks of grinding world quests and mythics, and it's effectively a guaranteed kill. I was happy to grind away at heroics and daily quests to get geared up because I had that motivation to go a bit farther and see more the next time. It made every time I set foot into a raid feel special, even though I got wrecked in the first few bosses every time. It made the world feel like a big, scary, hostile place that's indifferent to your presence, rather than a guided themepark. The only difference is that I get to experience it as well in a simpler version.Īs someone who is 100% the target audience of LFR (I've never finished a raid outside of LFR), I enjoy the game more when I'm never able to see some of the content. The prestige of completing the Mythic version of it to me looks a lot like how it was just completing a raid back then. And it's because I see Mythic as the real raid with all the mechanics that make the boss how it's truly supposed to encountered.Īgain, I'm NOT at all saying that raiding back then sucked. While I get that I was still able to experience the raid or the story of the raid, Mythic is what I see as the top shit that only a fraction of the player base will experience. And hell, I'm pretty sure I'll never be able to get into Mythic. But, understand that it also takes me weeks to just to get into Heroic. I also understand that there was a sense of accomplishment when you actually got to complete a raid after weeks or months of working for it. Look, I'm not against the idea of attunement for raiding (as long as it's account wide) because I understand the idea that it adds to the story of the game. But, nowadays it's too easy because bosses are killed very early." That's just a hypocritical statement to make. He's basically saying "You can't discredit them then because it was a different time and you don't know what it was like. But, I feel like in a way he's also discrediting all the current players now. I believe that and in no way want to discredit them. Preach says that we shouldn't discredit the players back then saying that they put A LOT of work and effort into downing those bosses. But if now a majority of people are able to enjoy something when only a fraction did back then, I just don't see how that could ever be a bad thing.Īnother point Preach keeps bringing up is how it took weeks or even months for guilds to take down a boss for the first time across the entire player base or just for themselves. So, how exactly did it ruin the game when the amount people that get to enjoy raiding now is astronomically higher? I get that exclusivity has it charm and it can highly motivate certain people which adds to the experience. Preach also mentions it and while that was obviously not the case with the other raids (although I have read that Sunwell was similar in statistics) it is still a very small fraction of the player base that got to experience a raid. Very often the statement is made that less than 1% of the player base got to down a boss during Naxxramas. I know I'm a millennial on this topic and I will never be able to fully grasp the enjoyment you guys felt back then but there are some points that still bother whenever I see this video. So, here's my perspective from someone who joined late WoD. It's just the aspiration changed from being able to complete a raid, to being able to complete Mythic. The idea that less people are motivated to raid is simply not true. ![]() Now it's either you don't raid, you raid LFR, you raid Normal, you raid Heroic or you raid Mythic. Back then it was either you raid, or you don't raid. It's just a more gradual and the end goal changed. The feeling of progression in raiding is still there. Edit: I feel like Preach and a lot of people that agree with him on this are kinda missing a critical point. ![]() ![]() ![]() ![]() President” in a screechier and scarier direction. But it does seem as if she might be asking herself “What would Ella sing?,” even though her stylization ultimately seems less Fitzgerald-ian than like Marilyn Monroe suddenly taking “Happy Birthday, Mr. ![]() This is, admittedly, the most outlandish of all the theories presented here. Perhaps Fergie believes she is a straight-up, legit jazz singer. If it’d been successful, that would have been the perfect moment for the pro-kneelers to rush in with a “Gotcha!” Admittedly, Fergie has not appeared to be all that radical in her politics until now, but that’s the very nature of sleeper cells. You could imagine progressives and conservatives united in taking an involuntarily supplicating, “Please make it stop” position. Maybe it was part of a leftist conspiracy to make the nation take a knee. Fergie’s current hairstyle is somewhere between a Jennifer and a Barbra, but there was much about her manner that made it seem as if she were actually doing some sort of implicit homage to Michelle Pfeiffer’s rendering of “Makin’ Whoopie” in “The Fabulous Baker Boys.” If she had crawled onto a piano about the time she got to the twilight’s last gleaming, it would have made a lot more sense. Yet it played out for laughs watch the video and see the players increasingly struggle with whether to smile or not, before finally Jimmy Kimmel gives the wide grin everyone has been waiting for.īut what was she thinking? A few theories come to mind (although, to be honest, none of them could really fully account for what basketball fans witnessed Sunday): (Your gold medal will always be safe, Roseanne Barr.) Or maybe we shouldn’t be quick to assume that her intent was serious, but there is little in Fergie’s past oeuvre to suggest that the kind of waggish impulses that would lead someone to deliberately do a sexy sendup of a nation’s most sacred ballad. It wasn’t the worst televised national anthem ever - maybe just the worst not to actually be intended as comedy. Was there collusion, or was this unilaterally sprung upon an unsuspecting America by an outside enemy bent on sowing discord and chaos? We’re speaking of course, of the scandal of Fergie’s Sunday night performance of the national anthem, which caused the entire All Star Game-watching public to immediately form a social-media grand jury, intent on wondering: What the NBA and TNT know, and when did they know it? ![]() ![]() ![]() It's a different model to the original Mighty Eagle, where you paid a one-time fee of 69p to get the feature permanently, but had to wait a set interval after using it before it was available again. You can earn three mechanics by Liking the Bad Piggies Facebook page from within the game, but thereafter you pay for them: £1.49 for 10, £3.99 for 35 or £6.99 for 65. Just as the Angry Birds games had their Mighty Eagle power-up to flatten levels you were stuck on, so Bad Piggies has a Hire A Mechanic button, which summons a spanner-wielding pig to build you the correct vehicle for your current level. You can summon a mechanic to do the hard work for you in Bad Piggies Bad Piggies felt harder going: I switched off the iPad in a temper a few times when stuck. I found it difficult, anyway, despite a.) reviewing mobile games for a living, and b.) having blasted through the previous Angry Birds games fairly smoothly. But it runs a very real risk of frustrating more casual players, which may or may not be in Rovio's gameplan as it cracks onto the task of generating its second billion downloads. This, of course, is precisely why non-gamey gamers loved Angry Birds, and downloaded it in their hundreds of millions.īad Piggies requires more skill, so should please more-hardcore gamers. Sling enough birds, and you'd muddle through, sometimes with two or three star level-ratings. One of the criticisms of the Angry Birds games from, well, gamier gamers, has been the fact that success often felt more down to luck than skill. Noticeably harder than its predecessors, and sometimes frustratingly so. Something else that's familiar from the Angry Birds games: the sight of green pigs rolling around splinters looking hapless. ![]() On-screen buttons trigger the different propulsion tools as you go. Then hit a play button, and try to guide them through the level. You're provided with wooden boxes and a selection of items at the start of each level, which you drag into place on a grid of squares to build your pig's vehicle. You propel them by building things: cars with wheels, fans, bellows, springs, umbrellas and shaken-up fizzy bottles, among other attachments, in the Groundhog Day section and flying vehicles with balloons and some of the above items in the When Pigs Fly section. Instead, each level involves propelling a pig from its starting point to a finishing line, collecting stars along the way. What's different, obviously, is that there isn't a bird or slingshot in sight. The game keeps some familiar things from the previous titles, with a strong physics element to its puzzles, and a scoring system that involves getting one, two or three stars for each level depending on your skill. There is already, inevitably, a tie-in collection of plush toys, hoodies, smartphone covers and pillows too. Bad Piggies is launching on iOS, Android and Mac tomorrow (27 September), with Windows Phone and PC versions to follow. ![]() |